Artist and writer, Richard Bright, has addressed the relationship between art, science and consciousness for over 30 years. In his recent series of drawings he explores the impermanent and shifting process of time.
The ‘Drawing through Time and Image’ symposium, devised and organised by Jack Southern, took place at the Hardwick Gallery at the University of Gloucestershire in Cheltenham during March 2018.
Guest artists and speakers included Dryden Goodwin, Barbara Walker, Tim Knowles, Jessie Brennan and Jean Boyd.
“My art seeks to give form to those processes of thought which have yet to be fully articulated and to explore the enormous scope of the beautiful and delicately balanced neural choreographies designed to reflect what is occurring in our own minds as we think.”
Artist and writer, Richard Bright, has addressed the relationship between art, science and consciousness for over 30 years. In his recent series of drawings he explores the impermanent and shifting process of thinking.
Susie Howarth is a multi-disciplinary artist currently making drawings exploring errors, imperfections and erasures. She takes inspiration from organisational documents: annual reports, business plans, newsletters, brochures, charts and strategic policy frameworks.
Giulia Ricci’s finely detailed geometrical works use a variety of processes, hand-made and digital drawing, laser engraving, installation and video. Drawing underpins the artist’s practice across the various media. Drawing is a means of translating the experience of tactility into a visual image, as the artist creates a sense of texture through the use of a non-representational visual language.
Jason Lane is an artist who collects predominantly reclaimed steel and is drawn to the aged qualities and personal histories of materials. Inspiration for his work is also in part derived from a fascination with mechanical objects and their animalistic qualities. He makes mechanical sculptures, which include a vehicular sound sculpture that was used in the closing ceremony of the 2012 Paralympics and the Blackpool art car parade in 2008. He has also made a series of drawing machines.
Ana Mendes is a writer and visual artist, creating projects in which she uses photography, video, drawing, text and installation to address issues of memory, language and identity. She has been the recipient of several awards for her works in performance, video, photography and literature, including the Jerwood Drawing Prize 2017, second prize winner, London, UK. Her research project, ‘On Drawing’, aims at establishing a connection between drawing and thinking in the realms of arts and science.
“The entry point to my mark making lies in my everyday experience. These marks I interpret as imaginary traces that reflect the fragility of both human and environmental interconnectedness. Although I constantly see traces around me, the experience of absorbing these traces is not so much a visual experience as it is a physical process. Seeing is more a cyclical slippage between the reception of absorbing external traces and the inner resonance I feel inside my body.”
Formally a cardiac nurse, artist Sonya Rademeyer uses the vehicle of sound, movement and deep listening to explore the sensing of traces in her everyday experiences and the fragility of line to capture and translate them into form.
Kelly Chorpening is an artist, writer and educator. She has been the Course Leader for BA (Hons) Drawing at Camberwell College of Arts, UAL since 2006. Her recent experiments explore ways of materialising the form of language in order to test the fundamental processes of naming and identification that occur in both drawing and writing. She is currently co-editing, with Rebecca Fortnum, ‘A Companion to Contemporary Drawing’, containing newly commissioned essays on contemporary drawing, to be published in 2018.
Richard Talbot is currently Head of Fine Art and Professor of Contemporary Drawing at Newcastle University. His work includes large-scale drawings, sculpture, and more recently, video/installation. His research and studio practice is centred on contemporary drawing, but he brings to this a particular interest in the theory, history and practice of perspective. His interest in drawing, and in particular his use of perspective, has developed out of originally making sculpture and finding that drawing and the investigation of line, plane and space, lay at the root of much of his theoretical and creative concerns. This in turn has led to an investigation into many areas of drawing practice – but in particular, the role that linear perspective plays in that practice.