The breadth of interpretation of subject and form has been key to this dialogue and debate, and to developing and deepening a discourse around what was once an undermined territory in creative practice.Ī: Jerwood Drawing Prize is a unique opportunity for emerging artists to exhibit alongside well-known names, and it has served as a catalyst in many artists professional development. Do you feel the diversity of works in the show contributes to a wider understanding of drawing practice?ĪT: I believe that the overall focus on drawing as a field and discipline of the Jerwood Drawing Prize exhibition project enables a wider and deeper understanding of the multiple ways in which creative practitioners are using drawing now, and it facilitates dialogue and understanding about visual values, definitions and taxonomies of drawing, and it enables people to see drawing anew, both within their practice and in that of others. ![]() It has certainly reinforced my commitment to drawing as an act, medium and form, fundamental to my understanding and experience of the world.Ī: The use of charcoal has remained central to your work over the last 30 years, what is it about the medium that resonates?ĪT: The use of charcoal has remained constant for a number of reasons as a flexible and adaptable medium, it is intrinsic to the making, with an innate capacity for negotiation and adjustment in realising the constructed image, with traces and residues of carbon resonant to the subject matter.Ī: Each year, the Jerwood Drawing Prize exhibition includes works produced in a wide range of mediums and forms. There are also sequences of ink drawings on show that have more expansive themes and reference narratives, myths, historical precedent and events that explore, interpret and resituate the depiction of female characters and subjects.Ī: Has your role as Director of the Jerwood Drawing Prize informed your own practice?ĪT: Seeing so many drawings and listening to the discussions between the selectors year on year and engaging with the participants and audiences of the annual touring exhibition in addition to the wider context for my engagement within the field of drawing, as a practitioner and educator, inevitably informs my thinking. An interrogation of gesture and expression has led to a sequence of drawings that question not just appearance, but the emotional or haptic sensation of being inside a skin or body that can only be seen or recognised by the self with the aid of a mirror. ![]() How has your process evolved over this period?ĪT: DRAWN includes a number of drawings that explore perceptions of identity, self, portrayal and witness, with Seeing Something Else (1993) presented as a key drawing that encapsulates and discloses the territory for development in the later large charcoal drawings on show, such as Divulge (2006), Vestiges and Glance (2012) and through to the Witness series (2017). ![]() To coincide with the opening of the Jerwood Drawing Prize 2017, founding Director Professor Anita Taylor expands on the importance of drawing, both in her own practice and in the wider cultural sphere.Ī: Your solo exhibition DRAWN has just opened at The Customs House in South Shields, with works spanning two decades of your drawing practice.
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