Tag Archives: Education

Thinking on the Pages of Sketchbooks

Elisa Alaluusua originates from Finnish Lapland and has been exhibiting internationally since the beginning of 1990s. Her first degree was in drawing (1991), since then she has completed two MAs, one in UK (Environmental Art, 1995) and one in Finland (Art Education, 1999), and practice-based PhD at the University of the Arts London (2016) on the topic of Sketchbooks. In 2015 she won the second prize in the prestigious Jerwood Drawing Prize with her video/drawing ‘Unconditional Line’.

This article is based on her PhD research ‘Sketchbooks – A Comparative Analysis of the Use of Sketchbooks by Contemporary Artists’ and makes an attempt to get a better understanding of how thinking happens on sketchbook pages and what visual form it might take.

Drawing the intangible present

“Sometimes there are ‘breakthrough moments’ in the process of drawing, when through patient reflection new considerations about the subject emerge and move the work on to new and unexpected forms. There is a subtle point where the subconscious and conscious meet, and a drawing can then either self-consciously collapse or discover a fresh vitality and ‘truth’. The latter is what I try to find.”

Julia Hutton studied Fine Art at UCA Canterbury and MA in Printmaking at the Royal College of Art, London. Her work has been exhibited in the UK and overseas and selected for The Jerwood Drawing Prize 2015 and 2016, Drawing Biannual at RWA, Bristol 2015, and The Threadneedle Prize, London 2012.

Emerging Drawing: the drawing as a complex adaptive system

Simon Downs originally trained in a particularly traditional school of illustration, but the rapid evolution of digital communications design forced him to rethink his design practice. In turn he became; a digital illustrator, a digital animator, an interaction designer, a multimedia designer and editorial designer; working in London for the finance and publishing sectors.

He writes on visual communication (including drawing) as a complex system, is a Director of the Drawing Research Network and has been an editor with the journal of drawing and visualisation TRACEY since 2003.

Drawing is political?

‘Drawing is political?’, examines the ever changing context which determines the politics of how we might look at, see, and understand Drawings today. In doing so, discusses the contemporary relevance of the medium of Drawing, in the context of the volume and velocity by which we experience images digitally in contemporary western culture. A fundamental proposition considers whether ‘traditional’ Drawing approaches are merely an antidote to the digital world, or in fact, whether original and authentic drawn responses are now more important than ever?

Unpredictable Structures

Tamarin Norwood is an artist and writer working with text, video and sculptural installation to examine gesture and pictorial figuration in drawing and writing. In October 2013 she began a practice-led doctorate at the University of Oxford, examining gesture and pictorial figuration largely through video, text and sculptural installation, developing a phenomenological study of the point of contact between drawing implement and support during the acts of drawing and writing. This study is part of a broader studio practice that employs features of metafictional literature, asemic and blind drawing, and amateurist sculptural assemblage to create sequences of videos, texts, objects and installations that describe the processes involved in their making.

Pattern Finding and the Thirty-Seventh Move

“People have always searched for the “song beneath the song” – a way to discover, match, and predict the patterns of a complicated world. Every job, from firefighting to lawyering, demands that practitioners learn the patterns, say, of how a fire grows or an argument is made. But how deep do patterns go? Are there patterns that underlie it all? Can our computers learn them for us?”

A Phenomenological and Process Approach to Pattern

“Merely conceiving of and talking about reality and experience at all presuppose notions of pattern, meaning and consciousness. This position recognises the immanence of an existing objective reality, which nevertheless is in any way accessible and meaningful to us only though our subjective apprehension of it. Reciprocally it also recognises that consciousness is always consciousness of the real world – a response to the meanings of the world, to the world’s own consciousness as it were. The pattern of being is deeply relational, originating in between ‘subject’ and ‘object’, prior to their separation.”

Monia Brizzi is a London based Chartered Psychologist, Registered Psychotherapist and Associate Fellow of the British Psychological Society.

Teresa Chadwick: FUSION – HAKA PIRI

In 2016, Teresa Chadwick presented her first exhibition, ‘Fusion – Haka Piri’, a goldsmith collection inspired on Easter Island archaeology and culture, at Hanga Roa (Easter Island.) The project went on to be shown at the Museo de Artes Decorativas in Santiago, Chile and at the Tate Modern and will be shown at the Chilean Embassy, London in 2017. Currently studying for an MA in Arts and Science at Central Saint Martins, University of Arts, London, in this article she discusses her project which delves into Easter Island’s cultural magic.