the 2015 Catalogue

JERWOOD DRAWING PRIZE 2015
Published to accompany
Jerwood Drawing Prize
2015 exhibition
Copyright © Jerwood Drawing Prize &
Jerwood Charitable Foundation.
All or part of this publication may not be reproduced, stored in retrieval systems or
transmitted in any form or by any means, whether electronic or mechanical,
including photocopying, recording or otherwise, without the prior permission in
writing of the publisher.
Catalogue
Editors: Anita Taylor and Parker Harris
Photography: Benjamin Cosmo Westoby; photograph p34, Peter Stone
Designed by: Matthew Stroud
Printed by: Jigsaw
ISBN 978-1-908331-17-5
CONTENTS
4
Jerwood Drawing Prize 2015 exhibition & tour
5
Foreword, Shonagh Manson
6
Introduction, Professor Anita Taylor
8
The Selection Panel
9Selection Panel Perspectives:
Dexter Dalwood
Salima Hashmi
John-Paul Stonard
12
Catalogue of Works
70
Artists’ Biographies
80About Jerwood Drawing Prize 2015
Award winners and selectors 1994 – 2014
84Acknowledgements
4
JERWOOD DRAWING PRIZE 2015
EXHIBITION AND TOUR
16 September – 25 October 2015
Jerwood Space
171 Union Street
London SE1 0LN
jerwoodvisualarts.org
21 November – 31 January 2016
Cheltenham Art Gallery and Museum: The Wilson
Clarence Street
Cheltenham
Gloucestershire GL50 3JT
cheltenhammuseum.org.uk
11 February – 9 April 2016
Sidney Cooper Gallery
Canterbury Christ Church University
St Peter’s Street
Canterbury
Kent CT1 2BQ
canterbury.ac.uk/Sidney-Cooper
23 April – 25 June 2016
Falmouth Art Gallery
Municipal Buildings
The Moor
Falmouth
Cornwall TR11 2RT
falmouthartgallery.com
5
FOREWORD
Last year, Jerwood Drawing Prize celebrated its 20th annual exhibition;
20 important years as a clarion call for the support and development of
drawing in the contemporary landscape of art and culture.
This year, we are also proud to mark the 15th year of Jerwood Charitable
Foundation’s support for the project. As an organisation which is still a
teenager itself, we have been supporting Jerwood Drawing Prize for nearly
as long as we have been constituted. It remains a singular experience from
year to year, as new selectors take up the challenge of circumnavigating
their own definitions of drawing, as new artists submit their works to the
changing conversation. It is this renewed sense of dialogue, year on year,
and the continuation of the project’s advocacy for the importance of drawing
as a practice and activity that reinforce our belief in the project.
The quality of the exhibition is again this year outstanding, and with its
plethora and diversity of work it allows plentiful room for critical discussion
about the nature and status of drawing. In this show we meet familiar friends
and new faces; we see joy and geometry, reflections taken from reality and
vistas lifted straight from the imagination. Lines, marks and images are made
using different methods and materials, including with words in selector JohnPaul Stonard’s poetic response to the experience of selection.
This is a project on a truly national scale, and each year this publication
sets out to recognise and thank the many individuals and teams involved.
On behalf of Jerwood Charitable Foundation, whose core purpose is to
support and nurture artists and their work, I would like to congratulate all
the 2015 exhibitors, and thank each and every artist who submitted their
work. I would also express the heartfelt thanks of our Trustees to all who
have made it possible, particularly to co-founders of Jerwood Drawing Prize
Professor Anita Taylor and Paul Thomas, our own gallery team at Jerwood
Visual Arts, project managers Parker Harris and the important touring
venues for the exhibition.
Shonagh Manson
Director, Jerwood Charitable Foundation
August 2015
6
INTRODUCTION
The annual Jerwood Drawing Prize exhibition continues to provide a forum to
test, evaluate and disseminate current drawing practice. The exhibition aims to
promote and reward excellence in contemporary drawing through the support
and recognition of the work of established and emerging artists working in
the field of drawing and who reside in the UK. This annual open submission
exhibition enables us to gain knowledge and understanding about current
drawing practice and about those working within the discipline in the UK.
Drawings are considered for inclusion in the exhibition by a panel of three
selectors who represent the perspectives of practitioner, curator and writer, with
expertise in the field of drawing. Each year the selection panel changes. The
resultant annual exhibitions reflect the differing priorities and focus for each
panel, which emerge in response to the work presented for their consideration.
The selectors act as independent arbiters of the works submitted, and are
tasked to identify and choose drawings that represent their combined interests
and values in drawing. The panel select the works for the exhibition first, and
then collectively choose the drawings that will receive the awards. The selection
process and the outcomes then act as a catalyst to stimulating debate about
drawing, through drawing, all set within this framework.
Our distinguished panel members in 2015 were artist and professor, Dexter
Dalwood; artist, curator, educator and writer, Salima Hashmi; and art historian,
John-Paul Stonard. We are immensely grateful to them for their remarkable
energy, stamina and rigorous approach to the selection of the exhibition.
Their further contributions to this publication reflect on their responses to this
intensive and demanding process from their individual perspectives.
Works were submitted throughout the country via ten collection centres, which
in 2015 were located in Bath, Belfast, Cardiff, Cheltenham, Edinburgh, Leeds,
London, Newcastle-upon-Tyne, Norwich and Plymouth. The quality and scope of the
overall 2015 submission demonstrated the attention to the role of drawing within
the practice of both established and emerging artists, designers and makers. The
2015 selection panel saw each of the 3072 works submitted by 1592 entrants
over two days in the studios at Wimbledon College of Art in July in London. Of these
submissions 515 were by 264 applicants qualifying as students. As a result of
this highly intensive selection process, 60 drawings by 58 artists were selected,
including 6 student works from across the UK for the 2015 exhibition.
This exhibition marks 15 years of generous support from Jerwood Charitable
Foundation for Jerwood Drawing Prize. This sustained support is truly
remarkable and has enabled the project to develop and mature in the wider
context of Jerwood Visual Arts under the successive leaderships of Roanne
Dods and Shonagh Manson, the Director; Tim Eyles, the Chairman; and
the Trustees. To work with Jerwood Charitable Foundation, and the wider
Jerwood ‘family’ of organisations, with their inspirational vision, leadership
and investment in supporting creativity, culture and the arts in the UK is an
enormous privilege and honour.
7
The Jerwood Drawing Prize project is enabled by an extensive group of individuals,
and thanks are due to everyone who contributes to the origination of this project.
This includes the collection centres and their staff; the students of Bath School
of Art and Design and Wimbledon College of Art, University of the Arts London
who work as handlers and administrators; Parker Harris who manage the
administration of the project; Marc Thomas, chief technician; the Jerwood Space
and Jerwood Visual Arts teams; the tour venue partners; those who work on the
transportation, handling, website, design and print; Paul Thomas, co-founder
and selection coordinator; Bath Spa University who support my involvement as
director of the project; and our distinguished selection panel. Our most important
thanks go to each individual who submitted works for consideration within the
context of an open submission exhibition.
Congratulations to everyone with a drawing included in this exhibition – and
especially to the award winners of Jerwood Drawing Prize 2015.
Professor Anita Taylor
Director, Jerwood Drawing Prize project
Dean of Bath School of Art & Design at Bath Spa University
Adjunct Professor, University of Sydney affiliated to Sydney College of the Arts
August 2015
8
SELECTION PANEL
L-R: Salima Hashmi, Dexter Dalwood and John-Paul Stonard
Dexter Dalwood
Artist
Salima Hashmi
Artist, Curator & Writer
John-Paul Stonard
Art Historian
9
SELECTION PANEL PERSPECTIVES
Jerwood Drawing Prize 2015
If I was to select a drawing show, I wanted to look for drawings that had energy and
a sense of application – whether they were working drawings or drawings which have
a singularity in purpose, an actual work on paper, or a work that develops the idea of
drawing as an activity in itself.
It is quite rare these days to find observational drawings in pencil or charcoal in a
secondary school art department. I do not think that drawing should be a reactionary
activity but, frankly, if you are not given the opportunity to sit and draw what is in front
of you between the ages of 11 and 15 it’s unlikely you will have the confidence to try
again later. Drawing – as an intellectual activity which extends visual thinking – has been
downgraded in secondary school education – and been replaced with a more userfriendly activity where personal expressionism is paramount. As a result, drawing as an
observational skill is less a function of art in schools these days.
While I was a first year painting student at St Martins in the early 1980’s students were
asked to go to the National Gallery, choose a painting, make drawings from it and return
to the studio to produce a painted version. I wasn’t particularly proud of my clumsy
version of El Greco’s Christ Throwing Out The Money Lenders but the experience of being
required to draw from an existing painting was a revelation – years later I was able
to make a connection between the strangely constructed interior of the El Greco and
analytical Cubist paintings which only revealed themselves through the act of drawing it.
An important condition of drawing is that it doesn’t always have a specific intention, it
is explorative, it can bear the evidence of correction and exploration of ideas and yet
remained unformed. I would have liked to have seen more such rough drawings – I think
Francis Crick’s sketch of what DNA might look like is one of the most beautiful drawings
made in the 20th century.
As the judging progressed over two days, interesting trends which emerged:
1. Repetition as a drawing activity – obsessive small mark making, filling huge sheets of
paper or tiny circles to make up an image.
2. Drawings of trees – glades, forests, either photo-rendered or expressive and fantastical.
3. Countless drawings of birds – more popular than any other creature.
4. Big drawings – a surprising number of works were on rolls of paper – it’s interesting to
consider this trend, in view of how few large contemporary drawings I have ever liked.
5. Photo-realist drawings with varying degrees of detail.
6. Drawing projects with an internal logic of their own, sometimes with copious
notes attached.
In fact, most of the works in the final cut didn’t fit into the categories above. The majority
of the works we selected were on paper but there are also two excellent video works that
seriously consider drawing as an activity.
Dexter Dalwood
Artist
August 2015
10
Jerwood Jury Experience
The mere recollection of the jury experience of the Jerwood Drawing Prize is daunting.
Did we really evaluate 3000 drawings in 48 hours? Did we do justice to the diverse visual
feast presented? Were our responses appropriate? How heavily did we rely upon intuitive
‘readings’?
Coming from a vastly different part of the world, I was concerned about the relevance
of my rather chequered history of teaching and evaluating drawings. After all, one had
lived through times when life drawing was fraught with problems under a stifling military
dictatorship, and had to be defended through devious ploys.
I regaled my colleagues on the Jerwood jury with one such anecdote. Vigilantes of a
religious student group burst into my teaching studio, and strutted around glowering at the
hapless male model in loincloth being studied by the students. I had to convince them I was
a very reluctant instructor, simply complying with the ‘Government sanctioned syllabus’.
There ensued a brief but serious discussion on how best to Islamicise life drawing.
Various useful suggestions were presented. One proposal was for a portrait of King Faisal
of Saudi Arabia, which was summarily discarded because the King happened to be dead.
The chat finally concluded on an amiable note after we agreed that the matter needed to
be taken up by the Medical College next door, who could advise us on how to teach ‘Islamic
Anatomy’. The vigilantes left, happy at having settled the matter of morality and life drawing
in my studio.
Looking forward to pondering such questions at the Jerwood jury meeting, I was
surprised at the noticeable absence of the nude as a subject. In general, the figurative
was less favoured among the drawings than the built environment or the proverbial
English landscape. Had the unclothed human body become too overburdened with the
connotations of art history, or the feminist critique?
There was greater evidence of a delight in materials and fertile mark-making. One
also sensed a withdrawal from the narrative as a reason for drawing, except for some
memorable works selected for exhibition. The simplicity of spatial organisation of shape,
value and space set some of the works apart in terms of pure visual economy.
One is occasionally intrigued by an image and the way it is rendered. It refuses to give up
its meaning or its intention, lingering with the viewer to a point that one is compelled to test
it by presenting it to a wider audience. Some of the drawings selected for exhibition were
mysterious, beguiling, haunting. One hopes the conversations and criticisms they instigate
will make it a worthwhile experience for the audiences they encounter.
Salima Hashmi
Artist, Curator & Writer
August 2015
11
Lines
I am the shadow of a wing-tip
Drawn, rising, across a screen;
A blue slow-moving contour,
Bloodline of a king and queen.
I am a sketch of summer gardens,
The barest note of bygone days;
Or the curlicues of custard creams,
Biscuitfully arranged.
I am a continental drift of swifts,
A snaking line of beating hearts;
A shivering square of static wings as
Swallows wheel and swerve the air;
I am the feathered vision of
A maiden’s flight along the Thames;
And a dark oxblood silhouette,
With shadow half-submerged:
I am knowledge of things. A
Skeleton, the bones of vision,
I am function, underlying form,
A circuit of stairways in space;
I am a dedication carved in
Marble: true love, true friends.
Or an epitome of greyness
Scratched and rubbed, to no end.
John-Paul Stonard
Art Historian
August 2015
12
ELISA ALALUUSUA
Unconditional Line, 2015
Video, duration: 7mins (still illustrated)
This video drawing explores a line across the skies and recreates it on a screen. As the
piece takes off we move with it on a journey. The lines on the ground speak their own
foreign language of order and safety that should not be compromised. The video is a
reminder of the experiences of our own journeys, and the viewer completes the image
though his or her memories. This particular trip belongs to a continuum of invisible lines
drawn between London and Luusua in Finnish Lapland. Score improvised on the cello by
Vera Leppanen.
13
IAN ANDREWS
The diagram and the depiction, 2015
Ink on tissue paper, loose-leaf book, 53 x 78cm
One of a series of 14 hand-drawn books entitled The Circulation of the Sign developed
from a range of sources including…
A diagram made to reconstruct the “Babelling” collaboration at the Sluice Art Fair.
The Picasso Papers by Rosalind E Krauss, in which she explores the dislocation
between the sign and what it depicts and the continually flexible and provisional
relationship that exists between them.
My continuing interest in how the mind builds, stores and loses memory. Inspired by
my epileptic seizures and my mother’s struggle with dementia.
14
ROBERT BATTAMS
Space for redevelopment, 2015
Handcut paper, 110 x 155cm
I respond to issues surrounding the relationship of technology, art and society and
our place within a constructed virtual and physical environment. I try to question our
relationship to the undefined, ambiguous and dehumanising space that we inhabit,
asking what we consider to be real and the conditions that create this reality. Space for
redevelopment is a sprawling rhizomatic structure. It is a transitional section of a larger,
unpredictable landscape, devoid of presence, scale or location, referring to both physical
and virtual topographies and structures.
15
FRANCES AVIVA BLANE
Friend Susie, 2015
Pencil and graphite, 57 x 46cm
Friend Susie is the first of a group of observed drawings made with pencil and graphite. I
usually work with charcoal and my subject matter is abstract, so it was a change seeing
the cutting line and silvery sheen of pencil rather than smudge of charcoal. More like a
razor blade. A sharp edge to tone and define. It was refreshing to focus on someone I was
watching, rather than looking inwards. I was reminded of my late life-drawing tutor, Tom
Norris, at The Slade saying ‘Don’t draw what you think, draw what you see’.
16
HANNAH BLIGHT-ANDERSON
One minute, 2015
Clear perspex and steel plinth, 152 x 28 x 24cm
Can you ever truly see your self? When you look at your reflection, what do you see?
What is essential to our being?
Art is in the seeing… Our vision is constantly active, reacting to the present surroundings,
informing each moment of our lives. We are not static or fixed forms but in constant
transit, alongside the world we live in. I am tussling with the components that impact
and inform a person, as I endeavour to visually offer the viewer an experience with the
phenomenon of being human.
17
PIA BRAMLEY
Carmen in the Grass, 2015
Ink on paper, 22 x 27cm
Burst into a Juicy Fluff, 2015
Ink on paper, 17 x 22cm
Butter Point, 2015
Ink on paper, 17 x 22cm
These blue ink drawings were made using pens, brushes, memory and imagination. From
the many small drawings made during this summer these three seemed to share an
affinity, though they are not intended as a series. Each drawing seems to be a small part
of a bigger thing.
18
PETE BURKE
Hackney to Bishopsgate, 2015
Pencil, cardboard and tape on paper, 46 x 36cm
The drawings I’m working on at the moment are a physical realisation of a perception of
London held within my memory, embedded through layers of experience and familiarity.
They incorporate materials, which convey a sense of their own history whilst relating to
my day job as an art courier, and the repeated navigations that work entails.
They also act as threads connecting the locations of photographs I have been taking
since 2009 of brownfield building site peepholes.
19
JOHN CLOSE
Dalston: Battle of the Lapiths and Centaurs, 2015
Charcoal on paper, 155 x 125cm
My inspiration is the Parthenon Metopes at the British Museum, based on a Greek
mythological conflict of cultures. This version is in Dalston, my place of birth in the
London Borough of Hackney. The process of gentrification has put a new, affluent class
amongst struggling local communities – perhaps varying forces have pushed this area of
London into its own battle of tribes.
I wanted to use drawing to show fighting, as it is experienced in inner city life; the
sporadic street violence and pathetic brawling where there is never any triumph of good
over bad, no heroic valour, only desperate people trapped in an internecine cycle.
20
JULIE COCKBURN
The Mother Ship, 2015
Ink and embroidery on altered found photograph, 20 x 25cm
The Mother Ship is the latest in a series of altered found photographs where I question,
play with, and respond to the original image. I am compelled to interrupt the picture
plane, stitching, hole punching and making childlike marks onto the flat, photographic
finish. I want to get under the skin of these pictures, both metaphorically and physically.
The slick surface, however patinated, invites excavation and graffiti. Once I had
completed this work, the glasshouse loomed larger, brighter and had more definition
than before. It looked like it was about to take off and fly out of the garden; vandalised,
fluorescent, modern and full of hope.
21
DANIEL CRAWSHAW
Moonshine, 2014
Nail on found object, 41 x 26cm
The idea for this drawing really came out of nowhere. A pan, hanging in my studio for
years having survived numerous camping trips and inattentive fry-ups, presented itself as
a surface for something else. It’s accumulated scuffs and scratches lured my eye into an
imagined space.
I usually explore the concept of the ‘sublime’ through painting, asking how is it possible
to capture feelings of awe and longing for remote landscapes. On reflection Moonshine
is a direct, intimate attempt to connect the mundane material world with a distant,
fleeting aspiration.
22
GERRY DAVIES
Murmuring Deep, 2015
Ink on paper, 60 x 60cm
Murmuring Deep began as notebook drawings made underground in a cave system
in Yorkshire. I’m not a caver and rely on experienced guides to access extraordinary
and little known environments. Drawing in the dark, with compromised vision, means
employing other senses – particularly touch and temperature. In the studio the challenge
is to find graphic equivalents for qualities not easily drawn – the weight of rock and deep
time. The methodical process of making the drawing reflects the erosion of limestone
(alkali) and its trillions of marine skeletons and the acidic water which continues to carve
through it passages and chambers.
23
CINZIA DELNEVO
Morning Meditations or Yellow Ball Point Pen on Paper, 2014
Ball point pen on paper, 61 x 61cm
Morning Meditations or Yellow Ball Point Pen on Paper is part of a series of drawings in which the
element of repetition is always present. Repetition is also used to relate to automatic writing or
automatism. It is utilised extensively on the same drawing; tracing forms composed of minimal
abstract units, mantra-like gestures to reach a point of deep dissociation from conscious thought.
This process of unfolding is an investigation of drawing without a visual reference as opposed to
working from a predetermined composition.
24
SAMMY DENT
King and Queen, 2014
Bitumen, whiting and oil bar on plywood, 122 x 82cm
Inspired by Henry Moore’s King and Queen statue seen at Glen Kiln, this drawing came
about after a long day in the studio, as a final last breath. Unconsciously drawn, on the
found plywood I’d prepared, it was the result of an accumulation of looking, thinking and
drawing but without much pre-meditation. The plywood is patinated, and leathery looking
just as the statue is weathered in its resting place in the glen.
25
EMMA DOUGLAS
Cato Marble Graffiti, 2014/15
Marble, 70 x 90cm
My work is conceptual.
I have always been attracted to the graffiti you see carved into park benches, and I always
fantasise about the lives of the people who put it there.
When my son, Cato, died suddenly at the age of twenty-one, we were building a kitchen for
him. This piece of marble was cut out to make room for the stove.
The marks on the marble are part of his story, my graffiti about him.
26
BRYAN ECCLESHALL
After Joseph Beuys’ ‘Wirtschaftswerte’ (”Economic Values”), 2015
Pencil on paper, 128.5 x 128.5cm
I make drawings of art works by others. This was made after Wirtschaftswerte was shown
at the Graves Art Gallery during Art Sheffield 2013. The multi-panel format allowed me to
make it at home while half-watching favourite films, or listening to podcasts or the cricket.
I saw my first Joseph Beuys – Plight – installed at the Anthony d’Offay gallery in Dering
Street in 1985. It had a profound effect on me but when I saw it again at the Centre
Pompidou in 2011, I was disappointed that a perspex barrier had been added to keep the
public at bay.
27
PENNIE ELFICK
Beam, 2015
Paint, graphite, ink, 190 x 20cm
This piece of found wood was the beginning of a dialogue, could the fragility and beauty of
the decayed surface be preserved and be the recipient of drawn marks? My drawings are
always about how mark making can convey an idea of place or feeling, working directly
on to a found object was a new and liberating experience, the complexity of the decayed
surface and its relationship to the flatness of the reverse side was paramount, using
the fluidity of the ink as a drawing tool seemed to allow the contradictory nature of the
surfaces to keep their independence and yet remain connected.
28
SUE ENGLAND
The Productivity of Absence (Hairnet), 2015
Pencil and pen, 44 x 54cm
Old age and dementia pre-occupy one half of my work, with particular reference to family
members. One in three people in this country will suffer from some sort of dementia. This
drawing is one of a series. My family history is closely linked with the Lancashire cotton
industry and the ‘thread’ running through all the work, connects that productive Northern
work ethic, a ‘make do and mend’ attitude, and the gradual unravelling of a mind and
life. This hairnet is worn every night by my Mother, holding in her anxieties, while the
connections unwind.
29
EXCHANGE + DRAW
Crank Call, 2015
Pencil, mixed media on digital print, 57 x 57cm
“Clov: What is there to keep me here?
Hamm: The dialogue”
Samuel Beckett, Endgame
Crank Call began as a digital print; uniting four drawings to harness the experiences/ideas from a
surplus of unwanted calls.
Caller – receiver, speaker? Listener? Like ordinary conversation, drawing conversation transports
one in an instant to another world through the dialectics of the encounter. The process sees the
manoeuvres of exchange as impetus to stimulate possibilities that might both question and
enhance the dynamics of any given drawing engagement.
Exchange + Draw are Richard Lloyd and Alan Parsons
30
MARK FARHALL
Naturally Slow Buildings (127), 2015
Coloured pen and pencil on paper, 25 x 19cm
I’m very interested in using processes of working that detach me from a conscious
action, that allow randomness and mistakes, so that I can produce indirectly what is
too obscured to express directly. What grows visually is a record of these individual
random convoluted thoughts, ideas, interpretations and how they might be connected.
I use various (elaborate and obsessive) techniques when constructing these drawings,
juxtapositioning assemblage, pattern making, mirroring, and playing with illusions
of three-dimensional surfaces. The processes create improvised drawings that are
simultaneously, energetic, harmonious, complex, and naive.
31
CRAIG FISHER
Explosion Banner, 2015
Cotton fabric, wool and thread, 145 x 145cm
I collect and employ images of violence and its aftermath from film, TV and the media as
source material for the production of works such as Explosion Banner. Considering the
potency of such representations and their potential to be subverted, images of explosion
clouds become simplified cartoon motifs, exploring the decorative through my use of
patterned fabrics. Craft techniques specifically associated with textiles and the seductive
nature and materiality of the artwork comments on our seduction and desensitization of
violent images.
32
NINA MAE FOWLER
Small II, 2014
Pencil on paper, cardborundum, wood, 12 x 25 x 5cm
This freestanding work depicts fourteen year-old Cheryl Crane on the night she killed her
mother’s lover. She was subjected to overwhelming media attention, her mother being the
actress Lana Turner. The piece, which appears as an ornamental accessory, comprises two
drawings. On one side, under the unforgiving glare of flash photography, police question
Cheryl. On the other, we see only the back of a head as she is whisked by. The frame –
covered in carborundum, typically used for abrasive semi-industrial purposes – is here a
metaphor for endurance and conversely something of delicate beauty when spot lit.
33
THOMAS GOSEBRUCH
Untitled 2, 2015
Oil paint on paper, 46.5 x 75.5cm
Notes from the underground.
34
TOM HARRISON
From Andrew’s Flat, Singapore, 2015
Pencil, 50 x 40cm
During a recent trip to Singapore I was highly stimulated by the lush green jungle offset
against the lines of the architecture. My initial pull for the drawing was seeing all of this
from an elevated position; an abstract pattern of the buildings jostling for space with the
jungle becoming even more apparent.
Finding it hard to select a starting point, I just looked. After ten minutes some movement
on a balcony to the right alerted me to an interesting combination of pattern, abstract
shapes and geometry, which then became my overarching idea.
35
ROLAND HICKS
The This And The That, 2015
Pencil, coloured pencil, gouache, PVA on gesso panel, 25 x 20cm
My drawing The This And The That recreates the scattered remains from the bottom of a
tipped out pencil case, preserved under a strip of sellotape.
I could try and claim some affinity here with 17th century Dutch trompe l’oeil painting,
also with Arte Povera and Minimalism. Or, maybe I could mention Post-Duchampian remade readymades (and it seems I now have done). But perhaps it’s more important to
say it is a small, quiet thing, slightly amplified.
36
WILLIAM HUGHES
open (one liner), 2015
Graphite on paper, 29 x 21cm
This piece, open (one liner) is taken from an on-going series in which images are
appropriated from a variety of sources and rendered against a grey background. Through
this consistent method of production each image becomes dislocated from original
context, the absence of which is heightened due to the sparse treatment of the subject.
Whilst some are chosen arbitrarily and more for their ambiguous potentiality or tendency
towards the enigmatic, most are biographical at their core. However in each case, the
initial impetus driving the creation of the work dissipates, remaining only as a residual
force, if at all.
37
JULIA HUTTON
Burning Light IV, The Passing Day, 2014
Burnt line drawing on paper, 52 x 49cm
This drawing is one from an on-going series that started as a direct response to
observing the pathway of sunlight through my studio window. Making visible the
invisible is ever present in my work.
The intimacy and directness of the burnt line acts as a physical record of my
observation and experience of the passing of ‘burning light’.
The drawing process evolved alongside research into our changing climate and analysing
burnt record cards from the Met Office, used to calculate hours of sunshine.
Drawing is a central daily practice, forming a bridge to print, photography,
painting and bookmaking.
38
MEHR JAVED
Shell I, 2014
Perforated paper, 118.5 x 140.5cm
Shell I references a Rorschach-like abstract symmetrical pattern. The paper surface is
meticulously perforated by hand to create meandering, intersecting lines and broken
flat planes. This process allows the paper to take on a porous, skin-like characteristic,
enhancing its associative and tactile qualities. As a result, the viewing experience is
immersive, meditative and sensual. In an intimate viewing such as this, eyes begin to act
as organs of touch.
39
BEN JOHNSON
Alhambra Study (Hall of Two Sisters)
Pencil, Rotring ink and ballpoint, 105 x 65cm
In the last few years I have moved away from the traditional drawing board to the use
of a computer and technical drawing and CAD programs. I have also spent the last 3
years experimenting on how to output the digital drawing as a more tactile object using
conventional materials. A typical preliminary drawing for any painting is now taking
approximately 9-12 months and the piece selected is a partial study from a 2-year project.
40
ALI KAYLEY
Buen Vencejo, 2015
Charcoal and graphite on paper, 93 x 126cm
When I was living in Los Angeles, migrating swifts would come swooping through the
city each autumn, echoing the Pacific coastline as they made their way home to Mexico.
These swifts live, eat and couple in the air, barely ceasing their journey until they arrive
home, spent. I had been making a piece of work about the routes taken by Mexican
migrant labourers, and the parallels between the birds, tiny specks in the sky, and the
people on the ground, themselves tiny specks, led to this work, Buen Vencejo – Fair Swift.
41
NIGEL KINGSBURY
Untitled, 2014
Pencil on paper, 110 x 90cm
Nigel’s main inspiration is the female form; he draws occasionally from life often from memory. This is
one of Nigel’s memory drawings. Nigel frequently draws the figure naked first, then adding clothes and
folds of fabric with layers of finely sketched lines. This is a unique piece where the figure remains nude.
42
LOIS LANGMEAD
Pelvis, 2015
8 spools of thread, 40 x 60cm
Pelvis is a contemporary reaction to the depiction of women’s bodies as ‘weak’
throughout historical medical texts. Despite medical texts being more accurate now,
the attitudes surrounding women’s physical abilities remains. The pelvis is a symbol to
remind us of the strength of women’s bodies.
The process of layering stitching took many days of women’s work; framed, the piece
appears is a curious medical specimen that explores parallels between medical
nursing and women sewing and repairing. Pelvis explores and questions the archaic
representation of women; presenting tension between feminine and private pastimes
and the darker, political problems present today.
43
GARY LAWRENCE
Santorini Polaroid, 2015
Biro on printing photo type paper, 198 x 213cm
I was given a large roll of shiny photo-like paper, which I put aside to use later. Meanwhile,
on holiday on a boat in Greece, I saw someone use a Polaroid Instamatic camera (I
thought they were not around anymore). This person’s instant photo was slipped out of
his hand by the breeze and it landed by my feet. I noticed the wide white border and shiny
surface of the Polaroid photo.
This Greek polaroid memory gave me the reason to then use my large roll of paper, to
make a large polaroid photo type of drawing (with shiny surface and wide border) using my
Greek holiday and travel magazine imagery as subject and inspiration.
44
JULIETTE LOSQ
Nexus, 2014
Ink and watercolour on paper, 150 x 131.2cm
I depict liminal landscapes hovering at the edges of a symbolic clearing, where wilderness and
chaos oppose civilization and order. I allude to the English ‘Gothic’ of the eighteenth and nineteenth
centuries, typified by fragmented narratives relating mysterious incidents, and scenes charged with
a real or imagined menace. Working over the surface repetitively, I create multiple layers, which
simultaneously obscure and reveal those beneath, incorporating imagery derived from various
sources including Victorian newspaper illustrations and horror films. In this series of works rococo
imagery infiltrates the landscape, so that the eye hovers between stylised natural forms and
realistically rendered ones, and is confronted both by the excess of nature and the excesses of these
forms.
45
GRACE MCMURRAY
Cutcomb Polaroid, 2015
Coloured pencil on graph paper and pins, 61.5 x 51.5cm
I created a geometric digital pattern based on a hive, referencing a personal utopia.
46
WILLIAM MACKRELL
Back of Agnese’s Head, 2015
Drawing on digital print, 130 x 100cm
Back of Agnese’s Head presents an ant’s size view of being in the back of someone’s hair.
This work is from an on-going series of portraits of the top, back and sides of people’s
heads. The interest lies in documenting this part of the body that cannot be seen directly
by the Self. The work begins as a photographic image, shot close up and larger than life,
after which I take a needle and scratch out each individual hair. The act of cutting into hair
pays attention to hair’s fragile and shifting nature, a part of us that can be quickly lost.
47
SEAN MALTBY
Cleaning Up, 2014
Video, duration 1min 6sec (still illustrated)
The video piece Cleaning Up was made during a six-month artists residency at the Verein
in Akku Künstler Atelier Uster in Switzerland. Like many of my video works it is a direct
and visceral response to the place, objects and materials at hand. It turned out, like many
of my videos to be a piece of drawing work. As a single line was raked across three types
of terrain it simultaneously dredged up a number of art historical references.
48
ANOUK MERCIER
Route des Lindarets – Une Cascade, 2015
Graphite on paper, 60 x 50cm
Route des Lindarets – Une Cascade is a detailed graphite drawing informed by the artist’s
extensive collection of early postcards and photographs of classic Alpine scenes.
Presenting an elusive beauty spot and waterfall, this work is from an on-going series
exploring traditional, idealised representations of Nature, as celebrated by late 19th/
early 20th century tourists and audiences.
Influenced by Romanticism and the Sublime, the melancholic scene echoes a timeless
yearning for escapism through the portrayal of a beautiful ideal, whilst also teasing out and
questioning the mysterious, the abysmal and the uncanny that often lurk behind idylls.
49
MARY MILLNER
View from Tate Modern, 2015
Pencil and coloured pencil on paper, 34.4 x 34.2cm
A drawing of a dream.
50
JOONHONG MIN
City Methodologies, 2014
Ball point pen on paper, 21 x 29.7cm
Ink pen set free on a piece of paper, I have had a habit of drawing non-existing space
since I was a child. Images of a city expressed onto a flat surface created illusion, a
virtual space and the objects within that satisfied both the visual and tactile senses.
The origin of this contentment came from having accomplished representing such
construction that absorbed my reverence on a relatively small picture building occupying
our city do not merely serve as residential or commercial purpose but a gigantic space
made by ourselves worthy of praise.
51
PAUL PEDEN
Drawing 309, 2015
Sumi ink, marker pen and pencil, 30 x 21cm
This drawing forms part of an on-going series of works on paper, each one explores a
simple structure as a basis for pictorial invention. The work is built using deliberately
basic components and follows a particular compositional impulse. Whilst enjoying the
straightforward nature of their manufacture, the evolutionary process allows for and often
actively encourages improvisation.
I relish emergent complexities and the potential to discover and create unforeseen forms
and readings through such modest and immediate means.
52
LEE JOHN PHILLIPS
The Shed Project: Volume 1, 2014-15
Ink in sketchbook, 29.7 x 21cm
I am in the process of creating an illustrated inventory of the entire contents of my late
grandfather’s tool shed. I will draw and number every single item, including all multiples,
and reference them in a catalogue upon completion.
As well as an exercise of discipline, the sketchbooks will exist as a record of my own
cultural and industrial heritage, reflecting on a social ethos I feel is being sadly eroded. To
date I have illustrated over 4,000 items – I estimate the total content to be over 80,000.
53
RUTH PHILO
Darker Part of the Weather I, 2014
Acrylic, gesso, graphite on linen, 25 x 30cm
This is one of a series of pieces concerning weather, both physically and emotionally.
A sensate experience conveyed through elements of abstraction – colour, surface and
mark, using paint, gesso and graphite. Erasing boundaries between painting and drawing,
this draws on elements of uncertainty, time and place, the seen and the unconscious,
condensed into an intimate canvas.
54
GIULIA RICCI
Order/Disruption no.71, 2014
Indian Ink brush pen on paper, 43 x 44cm
Order/Disruption no.71 is part of a series of drawings exploring disruptions within patterns
composed of right-angled triangles. I started this series of works in 2010 and each piece
is characterised by the fact that it can be seen from close up and from a distance, providing
two diverse kinds of experiences with different tactile and spatial implications.
55
ANNETTE ROBINSON
Musical Box (1), 2015
Clay, emulsion and pencil, 48 x 45.5cm
Someone recently called me a private flamboyant. At the heart of all the work I make
is a tension between quiet gesture and bold movement. This drawing sits amongst the
quiet gestures whilst, being part of a body of work that reflects an on-going interest in the
dynamics between the mechanical and the freely formed.
56
JENNY ROSS
The Code of Bones, 2014
Graphite on paper, 45.5 x 45cm
As a life model, I experience the setup from a unique perspective: from within, as
a dynamic part of it. Being invited to draw whilst being drawn by others provided an
opportunity to explore this. My writing often informs my work and my thoughts. When
creating images, I examine aspects of the narratives that I create.
57
GABRIELA SCHUTZ
Blog, 2015
Acrylic and watercolour on paper, 91 x 75cm (detail illustrated)
I’m fascinated, and at times apprehensive, with the way technology, information, communication
and consumerism are increasingly shaping our lives. In Blog I was working strictly from observation
and on location, afterwards sharing each ‘post’ on Facebook to be ‘liked’. Thus I created a
pictorial diary where not only the successful drawings remain – unlike social media where we try
to project the most favourable images of ourselves. Engaging in the act of drawing seems more
important than ever in these fast moving times which are dominated by an impatient continuum of
information.
58
SARAH SEYMOUR
Impending: storm clouds, 2015
Charcoal, pastel, carborundum, 75 x 95cm
This piece has a figurative and an emotional source. The starting point is the Romney Marsh
area and Dungeness, where I live, with its sometimes bleak but always inspirational dramatic
skies. Through depicting the dark and ominous clouds I want to convey a personal response to a
pervasive unease to situations outside my control. The textures are symbolic of the complexity
of the turbulence and confusion I feel.
59
CALLY SHADBOLT
Press Mould, 2015
Graphite and varnish on card, 32 x 24cm
Press Mould is one of a series of moulds, which have been made for relief casting in
plaster and for embossing paper.
The graphite pencil marks remain visible as part of the drawing and development prior
to construction of the mould. The varnish is a practical measure against damp or other
substances that may damage the card during the pressing process. Using a tinted glaze
allows the amount being applied to vulnerable edges to be gauged.
The object depicted is imaginary. Its form continues to evolve over time.
60
SOHEILA SOKHANVARI
Two serious ladies, 2015
Egg tempera on calf vellum, 43 x 32cm
Two serious ladies is based on a 1953 photograph marking the presence of American
expatriates in Iran, the year of the US assisted coup d’état in Iran. The work deals with
ideas of fascism, concepts of “anaesthetized aesthetics” and “phantasmagoria” that
aestheticizes society through art, architecture and political manoeuvres creating an
illusory world without pain and producing an alienation of senses.
Subjects become cool detached observers who are pinned down like butterflies by
their overburdening background symbolically criticizing the structures of society by
dispassionately and uncompromisingly depicting every detail of the subjects and their
surroundings, and by revealing the distance and emptiness between them.
61
CHARLOTTE STEEL
Poison Tree, 2014
Charcoal and chalk, 35 x 29cm
I am interested in how pictures, feelings and stories relate to one another.
Here the Poison Tree is destroying its own creator (unlike Blake’s poem, where his rival
eats the poisoned fruit). The sentiment is, I think the same.
62
HANNA TEN DOORNKAAT
Me (self portrait) I, 2015
Pencil on tracing paper, 89 x 64cm
The drill drawings combine concept and experimental process. The ‘Me‘ self portraits are
contemplative and the process of drawing on transparent paper feels like inscribing or
tattooing life’s experience into skin.
63
JOHN THOLE
You CHEAT, 2015
Ink, graphite, envelope, bag, card, 31.8 x 48.6cm
In creating an image I treat the composition as a system – a body in which individual
parts lend themselves to a much larger whole. Textures and forms are often reminiscent
of the body, and are a way of making the interior the exterior, each part being connected.
Figures, too, often operate in a similar way, becoming part of the compositional structure
or of each other within a theatrical space. You CHEAT uses these elements and also
highlights its own materials, their former functions and history of usage.
64
CAROLINE TRUSS
Family, 2015
Ink on board, 30.5 x 40cm
The drawing is my interaction with the subject. First my eye is drawn to an image,
secondly an idea of empathy to the image, then my imagination responds to my idea. I am
sharing what I feel the image is saying. When I look back at a drawing, I feel it can mean
anything or is simply a drawing.
65
ALAN TURNBULL
Self Portrait as Anna Akhmatova, 2014
Graphite, 43 x 48cm
This picture was one of a number of works resulting from an archival study of translations
of Akhmatova’s poems into English. During this time I became particularly interested
in her Poem Without a Hero and the importance she placed on the mirror and on the
observation of the self.
66
RONIS VARLAAM
Custard Creams, 2014
Conte, 50 x 48cm
Custard Creams is a drawing that perhaps belongs to a number of works I have made
examining the phenomenon of pareidolia. There is also a song I have written to go with it:
“Give me a French kiss in the back seat of your car. Take my pants off and hang them
from the aerial. But don’t forget to get the tea, the milk and the custard creams…”
67
ROSIE VOHRA
A Part of me, Apart from me, 2014
Charcoal on paper, 85 x 74cm
There is a welcome tension between drawing from my imagination and observation.
My Mind has nestled itself into what I am looking at, sitting next to my Sight reminding me
that it is there. They both spend so much time together that they start to blur into one being.
A Part of me, Apart from me took place in a life drawing studio, after a full day of drawing
from observation, my imagination leaked out on to the paper and the link between my
mind and hand matted together.
68
ROY WILLINGHAM
Grid-Schema-Nebbia, 2015
Gouache, collage and silverpoint on board, 25 x 31cm
Grid-Schema-Nebbia is about place; the space, the flatness of the paper against the
depth of perspective, ways of describing without perspective, combining different views
together. It wants to be classical and modern at the same time. It is about the contrasting
qualities of the materials; the delicacy of the silverpoint and the flatness of the gouache,
the way they lie over and disappear under and even deceive by illusion. It is the balance
of heavy shapes and soft lines, how to draw the eye around the rectangle and how to
achieve a satisfying overall harmony – and still be a place.
69
MARTHA ZMPOUNOU
Performance Line, 2015
Watercolour and pencil on paper, 55 x 75cm
Performance Line belongs to a series of drawings depicting human figures caught amidst
a performed act, an undefined thus ambiguous ritual. The drawing acts as a recording
device of the ritual, which is a drawing in space itself. The architecture, a confined space,
increases the awareness of the bodily moves and partly dictates the movement. The
thread, a key element, is a line in space and embodies the problem and its very solution.
It draws from the myth of Ariadne, where the thread becomes the path to an end. In a
confining space, like a labyrinth, the thread-line becomes the progress, a metaphor for
the very nature of the drawing process.
70
ARTISTS’ BIOGRAPHIES
ELISA ALALUUSUA (b. 1970 Rovaniemi,
Finland) studied MA Art as Environment
at Manchester Metropolitan University
(1994-95) and completed her second
MA at University of Lapland (1999).
She is currently conducting part-time
PhD research at University of the Arts
London on Sketchbooks. Selected group
shows include: POOL, CGP London
(2015); The Fire Sermon with Dale Inglis,
the blackShed Gallery, Robertsbridge
(2014); Driven to Draw: Twentieth-Century
Drawings and Sketchbooks from the
Royal Academy’s Collection at the Royal
Academy of Arts, London (2011/12).
Selected solo shows include: Sketching
Sketchbooks, Westminster School,
London (2014); 24h DRAWING IV – 22nd
to 23rd Oct 2013, Horace Mann, New
York (2013); 24h DRAWING II – 29th to
30th Nov 2012, Pullens Yards, London
(2012). She lives and works in London
but regularly visits the reindeer farm in
Lapland where she grew up.
IAN ANDREWS (b. 1959 Tilbury, UK)
studied MA Painting, Royal College of
Art (1985). Collaborations: Babelling:
The Art of Rat Catching, ARTicle Gallery,
Birmingham City University (2013);
Babelling, Sluice Art Fair, London (2013);
Coughing Fit, collaboration with Paul
Newman, part of the exhibition Going
Postal, ITV Building Birmingham (2012).
Group exhibitions include: Game Over,
Newman Bros, Coffin Works, Birmingham,
(2015); Jerwood Drawing Prize, London
(2014). Solo exhibitions include:
Rummage out, find by violence searching,
Terrace Gallery, Birmingham (2012).
Recent Events include: 15 Methods: 20
Questions, interview, publication and
presentation regarding the role of drawing
in Art Education (Group Presentation),
London (2013) Q-Art/Higher Education
Academy. He divides his time between
Essex and the West Midlands.
ROBERT BATTAMS (b. 1981 Perth,
Western Australia) studied BA Fine Art
Sculpture at University of the Arts London
(2003-06). He was shortlisted for the
Royal Academy Summer Show (2015) and
Jerwood Drawing Prize (2011). He has
produced work for Vanity Fair (2011) and
his work Grid featured on the Jerwood
Visual Arts programme of events (2012).
He lives and works in Sheffield.
FRANCES AVIVA BLANE (b. 1954,
London, UK) studied at Chelsea
College of Art (1987), BA Byam Shaw
School of Art (1988-91) and MFA
Slade School of Fine Art UCL (199193). Group Shows include: Drawing
Breath, Jerwood Anniversary Exhibition,
London, Singapore, Sydney and touring
(2008/9); Annely Juda, A Celebration,
Annely Juda Fine Art, London (2007);
Basil Beattie and Frances Aviva Blane
– Drawing, ECart, London (2001). Solo
Shows include: BIG BLACK PAINTINGS,
Bay Hall, London (2014); Deconstruct,
exhibition running concurrently with
shows by Louise Bourgeois and Francis
Bacon, De Queeste Kunstkamers
Abele/Watou, Belgium (2014); Portrait
Painting, ShillamSmith3, London
(2006). Awards include: Mid-America
ART Alliance Fellowship for Visual Arts
(1998); Residency at Djerrassi Artists’
Foundation, California (1998); Jerwood
Award for Drawing (1999). She lives and
works in London.
HANNAH BLIGHT ANDERSON (b. 1992
Truro, UK) studied BA Fine Art at Bath
School of Art & Design, Bath Spa
University (2012-15). Selected group
exhibitions include: Free Range, The
Old Truman Brewery, London (2015); A
Portrait of the Artist As, Elysium Gallery,
Swansea (2014); Platform 14, The Engine
Shed, Bristol (2014). Solo exhibitions
71
include Who am I, Balcony Space,
Bath (2014). Recent prizes include:
The Kenneth Armitage Foundation
Student Sculpture Prize (2015); Highly
Commended, Beep International Painting
Prize (2014); Highly commended, Victoria
Art Gallery, Bath Summer Show (2014).
She lives and works in Bath and Bristol.
PIA BRAMLEY (b.1986) studied BA
Illustration, University of Brighton (200709) and Postgraduate Program at The
Royal Drawing School (2014). Selected
exhibitions include: The Drawing Year,
Royal Drawing School, London (2014);
Verso, Tea Building, London (2014);
‘then, now, after…’ 150 years of art and
illustration, Brighton University (2013).
Editorial: The Sunday Times (2015); New
York Times (2010-2014) and The Plant
Journal (2013). Publishing: The Unicycle
Set, Nick Burbridge, Waterloo Press
(2010). Product: Anthropologie design
for ceramics (2012); PUBLICATIONS:
Freehand, Helen Birch, Hardie Grant
Books (2013); Varoom Magazine,
Association of Illustrators (2012);
Synonym Journal (2012). She is currently
a tutor for the Royal Drawing Clubs at
Whitechapel Gallery and visiting tutor for
Kingston University Art Foundation. She
lives and works in London.
PETE BURKE (b. 1958 Padstow, UK) studied
BA Fine Art, Loughborough College of Art
and Design (1976-79). Selected exhibitions
include; National Open Art Competition,
RCA, London (2013); Artists’ Eye, Hackney
Museum, London (2012); Royal Academy
Summer Exhibition, London (2012). Solo
exhibitions include: Glimpsing The Future:
Connecting Communities, Dalston Eastern
Curve Garden, CLR James Library and The
Clapton Hart, London (as part of Photomonth
2015). Collections: Birmingham Museum
and Art Gallery; Hackney Archives. He lives
and works in London.
JOHN CLOSE (b. 1979 London, UK) studied
BA Fine Art at Middlesex University (1999–
2003). Selected group exhibitions include:
Tutors Exhibition, Hampstead School of Art,
London (2014, 2015); Paintformance, The
Place, London Contemporary Dance School
(2013); 400 Women, London, Edinburgh,
Amsterdam (2010-2012). In conjunction
with Cubitt and St Luke’s Trust, he has been
a community artist in residence in Islington,
London since 2012.
JULIE COCKBURN (b. 1966 London,
UK) studied Sculpture at Central Saint
Martins College of Art and Design,
London (1993-96). Group shows include:
FOUND, New Art Gallery, Walsall (2015);
Threads (Draadkracht), Museum of
Modern Art, Arnhem, NL (2014); Riff/Rift,
Baltic39, Newcastle (2013). Solo shows
include: Waiting Room, Flowers East,
London (2014); Slight Exposure, Yossi
Milo Gallery, New York (2013); Portraits
and Landscapes, Flowers Central, London
(2012). She lives and works in London.
DANIEL CRAWSHAW (b.1967
Herefordshire, UK) studied BA Fine Art
(Painting) at Leicester Polytechnic (198790). Selected group exhibitions include:
Summer Shows, Martin Tinney Gallery,
Cardiff/Oriel Tegfryn, Menai Bridge
(2015); The National Eisteddfod of Wales,
(2012, 2010, 2009, 2004 – Peoples
Choice Winner); Creekside Open, APT,
London (2011); Asylum Open, Asylum,
London (2011); The Salon Art Prize, Matt
Roberts Arts, London (2010). Selected
solo exhibitions include: High Country
Gothic, The Western Plains Cultural
Centre, NSW, Australia (2014-2015);
The Gippsland Art Gallery, Bayside Arts,
Melbourne, Australia; High Country
Gothic, Oriel Myrddin Carmarthen, The
Sidney Nolan Trust, Powys (2014); Resort,
The Guardian Hay Festival, Wales (2007);
Lost Mountains, Rebecca Hossack
Gallery, London (2005). Residencies: Arts
Council of Wales, Snowdonia National
Park, Wales and Alpine National Park,
Australia (2012); Artist in Residence at
the Sidney Nolan Trust (2006). He lives
and works in Wales and London.
72
GERRY DAVIES (b. 1957 Pontypool,
Wales) studied BA Fine Art at
Wolverhampton Polytechnic (1977–80);
MA Painting at the Royal College of Art,
London (1981-84). Selected groups
exhibitions include: Paper, Table, Wall
and After, curated by Sian Bowen and
Chris Dorsett, Gallery North, University
of Northumbria (2014); The Moment of
Privacy Has Passed, an exhibition of the
sketchbooks of contemporary designers,
architects and artists, Usher Gallery,
Lincoln (2011); Contemporary Drawings,
Recent Acquisitions, Leighton Room,
Victoria & Albert Museum, London (2009).
Solo exhibition: Jenolan Caves, was the
outcome of a residency at The Study
Centre for Drawing at The National Art
School, Sydney, Australia (2010). Awards:
Artist in Residence at Durham Cathedral
(1978-88) and a Fulbright scholar at
Perdue University, Indiana, USA (1990-91).
He lives and works in Lancaster.
CINZIA DELNEVO (b. 1982 San Secondo
Parmense, Italy) studied BA Fine Art
at Accademia di Belle Arti, Bologna,
Italy (2001-07) and MA in Planning and
Production of Visual Arts, Faculty of
Arts and Design: IUAV – University of
Venice, Italy (2008-10). Selected groups
exhibitions include: Disseminazione,
Casabianca, Zola Predosa, Italy (2015);
“Passato Prossimo” Art in the age of posttradition, Rocca Estense, XXXII Roncaglia
Biennal, San Felice sul Panaro, Italy
(2012); Here we are | Il luogo è sempre
specifico, Contemporary Art Pavilion,
Ferrara, Italy (2010). Solo exhibitions
include: Legami Deboli (Weak Ties),
Amedeo Abello & Cinzia Delnevo, Galleria
Cinica, Palazzo Lucarini, Trevi, Italy
(2013/2014); Dodici (Twelve), Esperienze
non lineari del tempo (Non linear
experiences of time), Museum House of
Ludovico Ariosto, Ferrara, Italy (2011).
She lives and works in London.
SAMMY DENT (b. Perth, Scotland. 1967)
studied BA (Hons) Fine Art, St Martins
School of Art (1996-99), Art Students
League, New York (1994). Group shows
include: Summer Exhibition, Royal
Academy, (2007, 2010); National Open
Art Competition (2012). Solo shows
include: Public Library, Port Washington,
NY (2003); Flowers, Statues and Bison,
Dover St Gallery (2012); Billiard Room,
Chelsea Arts Club, London (2013).
EMMA DOUGLAS (b. 1956 London)
studied MA Printmaking, Royal College
of Art, London (1980-83), École des Arts
Decoratifs, Paris (1979-80) and BA Fine
Art, Middlesex Polytechnic (1976-79).
Selected exhibitions: Small is Beautiful,
Flowers Gallery, New York (2014); Jerwood
Drawing Prize (2013); Whitechapel Open,
Whitechapel Gallery, London (1989);
Printmakers at the Royal College of Art,
Barbican Art Gallery, London (1985);
Hayward Annual, Hayward Gallery, London
(1982). She was a Prizewinner at Mulhouse
Biennale, Alsace, France (1984). She lives
and works in London.
BRYAN ECCLESHALL (b. 1965 Bishop’s
Castle, UK) studied BA Fine Art at Leicester
Polytechnic (1985-88), MA Fine Art
at Sheffield Hallam University (200810) where he is currently researching
a PhD. Selected group exhibitions:
art:language:location, Cambridge; London
(2013); Tegel: Flights of Fancy, Babylon
Kino, Berlin (2012); M3-M6 Unterwegs,
touring Lancaster, Preston Berlin (2009).
Solo exhibitions: 365drawings, Bank Street
Arts, Sheffield (2014); and Baker’s Dozen,
NEO’s Gallery, Cockermouth (2007). He
lives in Worksop and works in Sheffield.
PENNIE ELFICK (b.1948 Carshalton,
UK) studied BA (Hons) Fine Art, London
Guildhall University (1993-96) and MA
Painting, Wimbledon School of Art (19992000). Selected group exhibitions include:
The Open West, The Wilson, Cheltenham
(2014); Annual Open, RWA, Bristol
(2014); The Still Point, Quercus Gallery,
Bath (2015). Solo shows: Contemplative
Spaces, Musgrove Gallery Taunton (2014);
Pennie Elfick, Acanthus Gallery, Wareham
(2015). Residencies: Cill Rialaig,
Ballinskelligs, Co Cork (2001); Brisons
Veor Cape Cornwall, Cornwall (2013). She
lives and works in Somerset.
73
SUE ENGLAND (b. 1947 Lancashire,
UK) studied Diploma in Art and Design,
Manchester College of Art and Design
(1965-69), Art Teaching Diploma, Reading
University (1969-70). Group Exhibitions
include: Sussex Artists, Pallant House
Gallery, Chichester (2011/2012); Ruth
Borchard, Kings Place Gallery, London
(2013); Society of Women Artists, Mall
Galleries, London (2013). Solo Exhibitions
include: Two Approaches, Studio, Pallant
House Gallery (2014); Here and There,
Oxmarket Arts Centre, Chichester (2011);
Nepal, Royal Geographic Society, London
(2015). Recent Awards/Commendations:
Winner EAC Abstract Prize (2012); Highly
Commended and Second Prize Sussex
Artists; Winner Stride Open, Abstract Prize
(2012). She lives and works in Chichester.
EXCHANGE + DRAW is the collaboration
of Richard Lloyd and Alan Parsons. Richard
Lloyd (b. 1960, Birmingham, UK) studied
BA (Hons) Fine Art, Bath Academy of Art
(1980-83) and MA Painting, Chelsea School
of Art (1983-84); Awarded Richard Boise
Traveling Scholarship (1985) Germany/
Switzerland. Alan Parsons (b. 1961, Luton,
UK) studied BA (Hons) Fine Art Painting,
Norwich School of Art (1980-83) and MA
Education at the Open University (2001).
Travelling Scholarship, Cyprus College
of Art (1983). Exchange + Draw was
co-formed in 2009-10: Group exhibitions
include: Drawing Open, Salisbury Arts
Centre, Salisbury (2013); Bridges, Fold
Gallery/Curio Cabal, London (2012); As Yet
Untitled?, South Bank Arts Centre, Bedford
(2011). Solo exhibition, Talking Heads,
Animal Studios, Bedford (2015). Both
currently live and work in Bedfordshire.
MARK FARHALL (b. 1968 Crawley, UK)
studied BA Illustration at the University of
Middlesex (1994-97) and MA Illustration at
Central St Martins College of Art and Design
(1999-01). Exhibitions include: 2013 Project.
Drawings, Hanover Project UCL, Preston
(2013); International Drawing Project, PR1
Gallery, UCL, Preston (2012). He lives and
works in London
CRAIG FISHER (b. 1976 Johannesburg,
South Africa) studied BA Fine Art at
Northumbria University (1996–99) and
MA Fine Art at Goldsmiths College,
University of London (1999-2000).
Selected groups exhibitions include:
Stand In, Small Collections Room,
Nottingham Contemporary, Nottingham
(2015); Art Across The City 2014, LOCWS
International, National Waterfront
Museum, Swansea (2014); UNITEXT,
9th Kaunas Art Biennial, Kaunas,
Lithuania (2013). Solo exhibitions
include: Homemade Devices, Beach
Gallery, London (2013); Pretty Disastrous,
James Freeman Gallery, London (2012);
Reckless Behaviour, TAP Temporary Arts
Project, Southend-on-Sea (2011). Recent
prizes include: Nottingham Castle Open
2014 Purchase Prize, (2014). He lives
and works in Nottingham.
NINA MAE FOWLER (b. 1981 London, UK)
studied BA Fine Art (Sculpture) at University
of Brighton (2000–03). Selected groups
exhibitions include: Artists of the Colony
Room (1948- 2008), England & Co, London
(2014); Starke Frauen, Neuer Kunstverein
Aschaffenburg, Germany (2013); Face Value,
Contemporary by Angela Li, Hong Kong
(2012). Solo exhibitions include: The Lure
of Collapse, Galerie Dukan, Leipzig (2014);
That’s Right Mister and How’s Your Fairytale
Coming Along? The Cob Gallery, London
(2013); It’s Just My Funny Way of Dancing:
Parts I-XIII, Lazarides, London (2011). Recent
prize shortlists include: The Young Masters
Prize (2012); Jerwood Drawing Prize (2010)
and The BP Portrait Prize (2008). She lives
and works in Norfolk.
THOMAS GOSEBRUCH (b. 1951 Munich,
Germany). Studied Painting at the
Hochschule fuer Bildende Kunste, Hamburg
(1976-79), MA Printmaking at Hochschule
fuer Bildende Kunste, Braunschweig,
(1980-81), Painting at the Royal College of
Art (1984-85) and Ceramics Diploma at City
Lit (1999-2001). Group exhibitions include:
The 1st International Biennale of the Arts,
Santorini, (2012); Jerwood Drawing Prize
(2010, 2011, 2012 ); Wall Contemporary
Art, London (2009); Eagle Gallery, Emma
Hill Fine Art (1990). Solo exhibitions:
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Galerie Kleindienst, Leipzig (2004, 1999);
Allgemeiner Konsumverein, Braunschweig
(2003); Christopher Hull Gallery, London
(1997). Collections: The British Museum,
The Victoria and Albert Museum and
several German museums. He currently
lives and works in London.
TOM HARRISON (b.1982 Bath, UK) is
currently studying at The Royal Drawing
School (2015-onwards). Lives and works
in London.
ROLAND HICKS (b. 1967 Aldershot, UK)
studied BA Fine Art, Winchester School
of Art (1987-90) and MFA Fine Art, Slade
School of Art (1994-96). Selected group
exhibitions include: One Giant Leap: Works
from the Saatchi Gallery, The Churchill
Hyatt Regency, London (2012); Volta,
Basel, (2011); BlowUp: New Painting and
Photoreality, St Pauls Gallery, Birmingham
(2004). Solo exhibitions include: The
Gathering Things, Eleven Fine Art, London,
(2013); Give Me Every Little Thing, Oriel
Davies, Newtown touring to Ffotogallery,
Cardiff, (2007); Nothing Can Stop Us Now,
Hiscox Art Projects, London (2003). His work
has featured in the John Moores Painting
Prize (2008/9), the Threadneedle Art Prize
(2009 & 2010) and the NatWest Art Prize
(1999). He lives and works in London.
WILLIAM HUGHES (b. 1991 London,
UK) studied BA Fine Art at Manchester
Metropolitan University (2011-14).
Selected groups exhibitions include:
The Other Side of the Door is Red,
TAGallery, Manchester (2015); Saltaire
Arts Trail, Bradford (2015); Inosculation,
Manchester (2013). Recent prizes
include: Melbourne Festival Emerging
Talent Award, First Prize (2014). He lives
and works in Manchester.
JULIA HUTTON (b.1954 London, UK)
studied BA Fine Art at UCA, Canterbury
(1996-2000) and MA Printmaking, Royal
College of Art, London (2001-03). Recent
selected group exhibitions include: Drawn,
Drawing Biannual, RWA Bristol (2015); RA
Summer Exhibition, Royal Academy, London
(2011, 2014); Threadneedle Prize, London
(2012); Drawing the Visual Representation
of Thought, Second Thoughts, Russell
Coates Gallery, Bournemouth (2014);
The Study Gallery of Modern Art, Poole
(2008). Awards: Julian Trevelyan Memorial
Award, Mall Galleries (2005); Augustus
Martin Printmaking Prize RCA (2003);
Tom Bendham Drawing Prize, RCA (2003).
Collection: Royal College of Art Archives
holds a selection of etchings and book
works. She lives and works in Dorset.
MEHR JAVED (b. 1983 Lahore, Pakistan)
studied BFA Visual Arts, Beaconhouse
National University, Lahore (2007) and
MFA Fine Art, University of New South
Wales, Sydney (2012). Selected groups
exhibitions include: Recent Acquisitions,
Blacktown City Collection, The Blacktown
Arts Center, Sydney (2014); Some
Other Place, The Blacktown Arts Center,
Sydney (2013); Indivisibilities, Rohtas II
Gallery, Lahore (2011). Solo exhibitions,
The Replenishing Zero, COFAspace
Gallery, Sydney (2012). Recent prizes
include: Recipient of the ArtStart Grant,
Australia Council for the Arts (2015); The
Blacktown City Art Prize (finalist), Sydney
(2012); Hobart Drawing Prize (finalist),
Tasmanian Museum and Art Gallery,
Tasmania (2011). She lives and works in
Newcastle-upon-Tyne.
BEN JOHNSON (b. 1946 Llandudno,
Wales) studied at Wrexham and Chester
Art Schools (1961-65) and MA Royal
College of Art (1965-69). Selected group
exhibitions include: the travelling exhibition
Photorealism, Kunsthalle, Tübingen,
Germany; Museo Thyssen-Bornemisza,
Madrid, Spain; Saarland Museum, Germany;
Birmingham Museum & Art Gallery, UK;
Museo de Bellas Artes, Bilbao, Spain;
Art Museum of Estonia, Tallinn; Musée
d’Ixelles, Brussels; Osthaus Museum
Hagen, Germany (2012-17); Photorealism:
The Sydney and Walda Besthoff Collection,
New Orleans Museum of Art, USA (201415); Beyond Reality, British Painting Today,
Galerie Rudolfinum, Prague (2012). Selected
solo exhibitions include: Spirit of Place –
Ben Johnson Paintings 1969 to the Present,
Southampton City Art Gallery, UK (2015-16);
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Time Past Time Present, Alan Cristea Gallery,
London (2014); Modern Perspectives,
National Gallery, London (2010-11). Recent
prizes include: Visitors’ Choice Award at
The Threadneedle Prize Figurative Art Today
(2014). He is an Honorary Fellow of the
Royal Institute of British Architects. He lives
and works in London.
ALI KAYLEY (b. 1967 Manchester, UK)
studied BA Fine Art, Goldsmiths College,
University of London (1987-90) and MA
Anthropology of Media, School of Oriental
and African Studies, University of London
(1999-2001). Recent solo exhibitions
include: From Purgatory to Paradise: Nude in
Road, INDEX Gallery, Stroud (2014); From
Purgatory to Paradise: an Indulgence, Brunel
Goods Shed, Site Festival, Stroud (2013);
Conquistador, Steve Turner Contemporary,
Los Angeles, California (2011). She lives and
works in Stroud.
NIGEL KINGSBURY (b. 1949 London,
UK). Group Exhibitions: Studio Voltaire
members show, Studio Voltaire, London
(2015); The Inner Self: Drawings from
the Subconscious, CGP, London (2014);
Outside In: National Exhibition, Pallant
House Gallery, Chichester (2013-12).
Solo Exhibitions: Nigel Kingsbury: Nigel
Loves, Julian Hartnoll Gallery, London
(2014); Nigel Kingsbury: Loves Nigel,
Pallant House Gallery, Chichester (2014).
Awards: The Inner Self: Drawings from the
Subconscious, winner (2014); Outside
In, National Winner (2012). Collections:
Pallant House Gallery and the Museum of
Everything. He works at the Action Space
studio in Studio Voltaire, London.
LOIS LANGMEAD (b. 1991 Burlington,
Canada) studied at Glasgow School of Art
(2011-15). Group exhibitions included:
Assembly, Blackall Studios, London
(2015); Assembly, Reid Building, Glasgow
(2015). She grew up in Leicestershire
and now lives and works in Glasgow.
GARY LAWRENCE (b. 1959 Essex,
UK) studied BA Fine Art at Portsmouth
Polytechnic (1978-81); MA Fine Art at
Eastern Illinois University, USA (198182) and MFA Fine Art at Southern Illinois
University (1990-92). Selected groups
exhibitions include: Lynn Painter Stainers
Prize, London (2015); Beecroft Gallery,
Southend (2013); ING Discerning Eye,
London (2012); Jerwood Drawing Prize
(2011, 2013); Eastern Open, Kings
Lynn (2010, 2014); Kettles Yard Open,
Cambridge (2006, 1999); Hunting
Art Prize, Royal College of Art, London
(2002); Pacesetters, Peterborough
(1997); Here and Now, Colchester
(1988); Camden Annual, London (1984,
1986); Summer Exhibition, Royal
Academy of Art, London (1984). Solo
exhibitions include: Beecroft Gallery,
Southend (2013); Christopher Stokes
Gallery, Chicago (1996); Artemisia
Gallery, Chicago (1991). Recent prizes
include: Special Commendation, Jerwood
Drawing Prize (2013); First Prize, Jerwood
Drawing Prize (2011) and the Pollock
Krasner Foundation, Major Award (2001).
He lives and works in Essex.
JULIETTE LOSQ (b. 1978 London, UK)
studied BA (Hons) Fine Art, Wimbledon
College of Art (2004-07); Postgraduate
Diploma in Fine Art, Royal Academy
Schools (2007-10); BA (Hons) History
of Art, Newnham College, Cambridge
(1997-2000) and MA History of Art,
Courtauld Institute (2000-01). Selected
groups exhibitions include: Complicit,
Coates and Scarry, Gallery 8, London
(2015); Ghosts, The Fine Art Society
Contemporary, London (2015); What
Marcel Duchamp Taught Me, The Fine Art
Society Contemporary, London (2014).
Solo exhibitions include: Nemora, The
Fine Art Society Contemporary, London
(2014); Dans la poussière de cette
planète, Galerie Arcturus, Paris (2013);
Lucaria, Theodore Art, New York (2012).
Recent prizes include: Windsor and
Newton Painting Prize, Griffin Gallery
Open (2015); John Moores Painting
Prize, Finalist and Visitor’s Choice Award
(2014); Catlin Art Prize, Shortlisted Artist
(2012). She was winner of the Jerwood
Drawing Prize (2005). She lives and
works in London.
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GRACE MCMURRAY (b. 1985
Rathfriland, Northern Ireland) studied BA
(Hons) Fine Art Sculpture (First Class),
Wimbledon College of Art (2005-08).
Selected Group Exhibitions include:
The Reverberatory, QSS Bedford Street
Belfast (2013); Synthetic Aesthetics,
Leitrim Sculpture Centre, Manorhamilton
(2012); Watershed, Hong Kong Visual
Arts Centre, Hong Kong (2010). Recent
Awards include: David Todd/Landmark
Fine Art Prize, Second Prize (2008). She
lives and works in Belfast.
WILLIAM MACKRELL (b. 1983 London,
UK) studied BA Fine Art, Chelsea College
of Art (2002-05) and is currently studying
MFA Fine Art, Goldsmiths College (201416). Selected Group exhibitions include:
PerFORMa, FOLD Gallery, London (2015);
Drawing Room Biennial, Drawing Room,
London (2015); Infinite Jest, Dundee
Contemporary Arts, Scotland (2012).
Solo exhibitions include: Touch & Go,
William Benington Gallery, London
(2015); Steam Horses, The Ryder, London
(2015); Lullaby, Andipa Gallery, London
(2013). Recent prizes include: Sculpture
Shock Award (2015) and International
Emerging Artist Award Finalist (2014). He
lives and works in London.
SEAN MALTBY (b. 1961 Luton, UK)
studied BA Fine Art, University of Plymouth
(2007-10) and MFA in Fine Art, Newcastle
University (2010-12). Selected group
exhibitions include: Drei Tage – Drei Kunstler,
Winikon Switzerland (2014); Field Broadcast,
Institute of Contemporary Art (ICA) London,
and Festival Gallery Riga (Latvia) and
Baltic 39 Newcastle upon Tyne (2011);
Jerwood Drawing Prize, London (2009).
Solo exhibitions include: Over the Hills & Far
Away, Akku Kunstkiste, Uster Switzerland
(2014); Aktionen in Uster (video screening),
Turbinen Halle, Im Lot, Uster Switzerland
(2014). Awards & Prizes include; Award from
the Oppenheim-John Downes Memorial Trust
(2013) and the Natalie Sitar Memorial Prize,
University of Plymouth (2010). He works in
Hackney, London.
ANOUK MERCIER (b. 1984 Paris, France)
studied Classical Drawing, Beaux Arts,
Paris (2002-03) and BA Fine Art & Visual
Culture, University of the West of England
(2005-08). Selected group exhibitions
include: The Tragedy of Landscape,
Antlers Gallery, London (2015); City Lives,
Bristol City Museum & Art Gallery, Bristol
(2013); Last Day, Cartel, London (2012).
Solo exhibitions include: Excursus,
Antlers Gallery, Bristol (2012); Paysages
Fantastiques et autres dessins, Galerie de
Clamecy, France (2011). Recent awards
include: Contemporary Artists Explore
Printmaking Bursary, supported by the
Arts Council England; Double Elephant
Print Workshop, Exeter (2013); ART
Magazine Emerging Artist Award, RWA
159th Autumn Exhibition (2011). She
lives and works in Bristol.
MARY MILLNER (b. 1960 London, UK)
studied City & Guilds of London School of
Art and The Royal Drawing School ‘Drawing
Year’ (2004). Selected group exhibitions
include: Discerning Eye (2006); The Big
Draw: Self-Portrait Drawing Show, Chapel
Row Gallery, Bath (2010); Drawn to the
Line, Piers Feetham (2007). Residencies:
Artist in Residence at City of London
School (2011-12); Dumfries House,
Scotland (2014). Self curated exhibitions:
Thamescapes (2012, with Phoebe Cope);
Legend (2015, with Daisy Millner). Public
collections: Science Museum, Eton
College, and Hatfield House. Awards:
Winner of the RDS/Watercolours & Works
on Paper Drawing Competition at the
Science Museum (2011). She lives and
works in South London.
JOONHONG MIN (b. 1984 Seoul, South
Korea) studied BA Fine Art, Seoul
National University (2004-10); MA Fine
Art at Seoul National University (201012); MFA Fine Art, The Slade School
of Fine Art, University College London
(2014-16). Selected group exhibitions:
New York Art Show, Gallery Shinhan,
New York (2012); Forging the public
memory through the dissolution, Gallery
Unofficial Preview, Seoul (2012). Solo
& duo exhibitions: Formative Dialectic,
Gallery Onground, Seoul (2014); Working
77
Condition, Gallery Woosuk, Seoul (2012);
Working Condition, Gallery C-Cloud, Seoul
(2012). Awards: Leonora Carrington
Scholarship, The Slade School of Fine
Art, University College London (2014);
Preview Award, Degree Show of Seoul
National University College of Fine Art,
Museum of Art, Seoul National University,
Seoul (2013); Selection Award, New York
Art Show, Gallery Shinhan, New York
(2012). He lives and works in London.
PAUL PEDEN (b. 1970 Liverpool, UK)
studied BA Fine Art, University of
Northumbria (1995–98) and MA Fine Art
at Royal Academy Schools (1999–02).
Selected group exhibitions include:
Creekside Open (selected by Lisa Milroy
and Richard Deacon), London (2015). He
lives and works in London.
LEE JOHN PHILLIPS (b. 1980 Caerphilly,
Wales UK) studied BA General Illustration,
Swansea Institute of Higher Education
(1998–2001); MA Visual Communication,
Swansea Institute of Higher Education
(2001-2003) and PGCE Art and Design,
Swansea Institute of Higher Education
(2005-2006). Selected groups
exhibitions include: Welsh Artist of the
Year, St. David’s Hall, Cardiff (2011); Sir
Kyffin Williams Drawing Prize, Oriel Ynys
Mon Gallery, Anglesey (2012); Sir Kyffin
Williams Drawing Prize, Oriel Ynys Mon
Gallery, Anglesey (2015). Solo exhibitions
include: Oriel Q Gallery, Pembrokeshire
(2011); St. David’s Hall, Cardiff (2012);
The Last Gallery, Llangadog (2012). He
lives and works in Wales.
RUTH PHILO (b. 1957, Spalding, UK)
studied BA History of Art, University of
Warwick (1975-78) and MA Fine Art,
Norwich University of the Arts (200911). Selected group exhibitions include:
Contemporary British Painting: The
Priseman Seabrook Collection, Huddersfield
Art Gallery, Huddersfield (2014); This
Year’s Model, Studio 1.1, London (2015);
Royal Academy Summer Exhibition (2015).
Solo exhibition, Another Shade of Green,
Benham Gallery, Colchester (2014). She
lives and works in Suffolk and Essex.
GIULIA RICCI (b. 1976, Bagnacavallo, Italy)
studied BA Fine Art, Accademia di Belle Arti,
Bologna, Italy (1995-99); BA Visual Arts,
University of Bologna (1996-2003); MFA,
The Slade School of Fine Art, UCL (200507). Selected group exhibitions include:
Wunderkammer, Bartha Contemporary,
London (2014); Eccentrico Musivo, MAR,
Contemporary Art Museum of Ravenna,
Italy (2014); The Edge of Painting, Piper
Gallery, London (2013). Solo exhibitions
and commissions include: The Grammar
of Orientation, commissioned by Modus
Operandi on behalf of Crown Estate, Air
Street, London (2015); The Grammar of
Order (with Tom Hopkins), The Tetley, Leeds
(2014); Connecting Threads, The Estorick
Collection, London (2010). She lives and
works in London.
ANNETTE ROBINSON studied BA
Fine Art, Gloucestershire College of
Art in Cheltenham and MA Fine Art
Sculpture, Royal College of Art, London.
Selected Group exhibitions include:
IdeasFromElse(W)here, Winns Gallery,
London (2014); Farringdon factory, London
(2013); Messen, Alvik, Norway (2008);
East International, Norwich (1996). Solo
Exhibitions include: Acts ReActs, Solo
event, residency outcome, Wimbledon
Space (2014); Going Nowhere and Building,
Ravenscroft Studio, Photomonth, London
(2012); Transformer, Uppsala Art Museum,
Sweden (2000). Awards: European
Pepiniere, Grenoble, France (1991); British
Council Sculpture Fellowship, Oslo, Norway
(1989-90). Annette is Senior Lecturer on
the BA Drawing Course at Camberwell
College of Arts, University of the Arts
London. She lives and works in London.
JENNY ROSS (b. 1989 Aberdeen,
Scotland) studied BA Veterinary Medicine
& Surgery, University of Glasgow (200713). Exhibitions include: North East Open
Studios Exhibition, Turriff, Aberdeenshire
(2015); ArtAboyne Annual Exhibition,
Aboyne, Aberdeenshire (2015); The
Sunday Times Watercolour Competition,
Mall Galleries, London (2015); The Royal
Scottish Society of Painters in Watercolour
134th Annual Exhibition (2015); North East
Open Studios Exhibition, Kinellar, Aberdeen
78
(2014, 2010); Aberdeen Artists’ Society
Annual Exhibition, Aberdeen Art Gallery
(2009, 2006). She lives and works in
Aberdeen, Scotland.
GABRIELA SCHUTZ (b. 1971 Tel Aviv,
Israel) studied BA Fine Art, Bezalel College
of Art and Design (1992–96). Selected
group exhibitions include: This is Home,
Dialogue exhibition, Geffrye Museum,
London (2015); Enclosure, Danielle Arnaud
Gallery, London (2014); Transpositions,
Petach Tikva Museum (2005). Solo
exhibitions include: Ein Harod Museum,
Ein Harod, Israel (2013); Platform Gallery,
London (2005); Artist Association, (2003).
She was shortlisted for the Neo:Print Prize
(2014); and Jerwood Drawing Prize (2004,
2005). She lives and works in London.
SARAH SEYMOUR: (b. 1962 Aden, Yemen)
studied BA Crafts: Combined Studies,
Crewe & Alsager College (1982-85) and
MSc Conservation Biology, Manchester
Metropolitan University (1996-97). She
became a full-time practicing artist in
2014, having had a varied career: including
conservation, in particular with primates.
Exhibitions: Sarah Seymour with Kaija
Bulbrook, Smallhythe Studio Gallery (2015);
New Road Artists, Rye Creative Centre
Gallery (2014); New Road Artists: ‘4x4’
Group exhibition, Rye Creative Centre Gallery
(2014). She lives and works in Kent.
CALLY SHADBOLT (b. 1959 Windsor,
UK) studied BA (Hons) Fine Art,
Buckinghamshire New University (200813). Selected group exhibitions: MK Calling,
Milton Keynes Gallery, (2015); House
on Fire, Embassy Tea Gallery, London
(2014); SNOOP, Building 118 Asylum
Studios, Rendlesham, Suffolk (2013).
Solo exhibitions: Small Exposure, Spare
Room show, High Wycombe (2014); Milton
Keynes Gallery Project Space, Showcase
(2012/2013). She was awarded the Royal
Society of British Artists Award at the
British School at Rome (2009). She lives
and works in High Wycombe.
SOHEILA SOKHANVARI (b. Shiraz, Iran)
studied BA Fine Art and Art History,
University of Anglia Ruskin (2001-05),
Postgraduate Diploma in Fine Art, Chelsea
College of Art & Design (2006) and MFA
Fine Art at Goldsmiths College, University
of London (2009-11). Selected group
exhibitions include: Champagne Life, Saatchi
Gallery, London (forthcoming, November
2015); Tectonic, The Moving Museum, Dubai
(2013); exTRAct, GL Strand, Copenhagen
(2012). Solo exhibitions include: Boogie
Wonderland, Kristin Hjellegjerde gallery,
London (forthcoming, October 2015); The
Story Teller, La Scatola gallery, London
(2011). She was recently shortlisted for
Catlin Art Prize (2012); Future Can Wait
(2013) and Young Gods (2011). She lives
and works in London and Cambridge.
CHARLOTTE STEEL (b. 1965 London, UK)
studied Royal Academy Schools (19847) and Chelsea School of Art (1983-4).
Selected Group exhibitions include:
Enjoy Democracy Responsibly, Formans
Smokehouse Gallery (2011); ING Discerning
Eye (2005,2006, 2009, 2010, 2011);
Jerwood Drawing Prize (2008); BP Portrait
Award, London (2005). She lives and works
in London.
HANNA TEN DOORNKAAT (b. 1949
Heidelberg, Germany) studied BA
Sculpture, Kingston University (1995-98)
and MA Fine Art at Wimbledon School of
Art (2000-02). Selected group exhibitions
include: Rebecca Hossack Gallery,
London (2014); Gallery 8, Sydney (2014);
Nassau 42, Antwerp, Belgium (2015).
Solo exhibitions: Cable Street Gallery,
London (1999); Raum2, Mannheim,
Germany (2002). She was shortlisted for
National Open (2011, 2014), and was
awarded the Cork Street Open Drawing
Prize (2011). She lives and works in
Kingston upon Thames.
JOHN THOLE (b. 1978) studied BA Media
Production & Photography at De Montfort
University, Oxford and Cherwell Valley
College (2006) and MA Fine Art (Painting)
at the Royal College of Art, London (2014).
Selected Exhibitions: Bloomberg New
79
Contemporaries, World Museum, Liverpool
touring to the Institute of Contemporary
Art (ICA) London, Newlyn Gallery and The
Exchange, Penzance, Cornwall (201415); A New Circle, Forbidden City Gallery,
Shanghai, China (2014); Show RCA, Royal
College of Art, London (2014). He lives and
works in London.
College of Art Gallery (2014). Upcoming
solo exhibition: Sir Denis Mahon Award
Exhibition at The Royal Drawing School
(2016). Awards: Leeds Student Exhibition
Award, Leeds College of Art (201013); Sir Denis Mahon Award, The Royal
Drawing School (2015/16). She lives and
works in Leeds.
ANNETTE TRUSS (b.1954 London, UK)
studied BA Fine Art Wimbledon College of
Art, University of the Arts London (200612) and MA Fine Art at Bath School of Art
& Design, Bath Spa University (2013-15).
Selected Group Exhibitions: Students work,
Deutsche Bank (2008); Reveal, Guerilla
Galleries, London (2013); Art and Protest,
Guerilla Galleries, London (2013). She
lives and works in Bath and London.
ROY WILLINGHAM RE (b. 1957
Southampton, UK) studied BA Fine Art,
Central School of Art & Design, London
(1976-79). Selected exhibitions include:
12 Contemporary British Printmakers,
Karelian Republic Art Museum (1994);
1+1+1, De Ploeg Gallery, Gröningen,
Holland (2002); Wrexham Print
International (2013). Recent Prizes
include ‘Best Tiramisu made by an
Englishman’, 2nd Prize (2015). He lives
and works in London.
ALAN TURNBULL (b. 1954 County Durham,
UK) studied BA Fine Art at University of
Newcastle (1973-76), and MA Painting,
Chelsea School of Art (1976-77). Solo
exhibitions include: The Translated Image,
Pázmány University, Budapest (2013);
The Dresden Archive Project, The German
Historical Institute, London (2012-13); The
Poet in Exile, Vladimir Nabokov Museum, St
Petersburg (2009). He lives and works in
North Yorkshire.
RONIS VARLAAM (b. 1946 Nicosia,
Cyprus) studied MA Filmmaking, London
Film School (1968-70). Selected group
exhibitions include: Proect Berlin, FactoryArt Gallery (2014); Creekside Open, APT
Gallery, London (2011); Social cinema, The
Residence Gallery (2011). Solo exhibitions:
Alsager Gallery, Manchester Metropolitan
University (2003); Kirkby Gallery (1999).
She lives and works in London.
ROSIE VOHRA (b.1992 Hertfordshire,
UK) studied BA (Hons) Fine Art at Leeds
College of Art (2010-13) and MA Drawing
at The Royal Drawing School (2013-14).
Selected group exhibitions include:
Forever Say, Forever Always, Gage Gallery,
Sheffield (2015); Verso, The Tea Building,
London (2014); Hand in Hand, Leeds
MARTHA ZMPOUNOU (b. 1978
Thessaloniki, Greece) studied BA Fine
Art and MA Painting, Aristotle University
of Fine Arts, Greece (1998–2003); MA
Illustration, Central Saint Martins College
of Art and Design, University of the Arts
London (2009-11). Selected groups
exhibitions include: The Threadneedle
Prize, Mall Galleries, London (2012);
Discerning Eye, Mall Galleries London
(2011); Royal Society of Portrait Painters
Annual Exhibition, Mall Galleries, London
(2011). Solo exhibitions include: Zina
Athanasiadou Gallery, Greece (2015);
Young Artists, Zina Athanassiadou Gallery,
Greece (2009). Recent prizes include:
EWAAC award for the best drawing (2015),
Secret Art Prize (shortlisted) (2014), The
De Laszlo Foundation Award (2011). She is
an Associate Lecturer at University of the
Arts London and lives and works in London.
80
ABOUT JERWOOD DRAWING PRIZE 2015
Jerwood Drawing Prize is an annual exhibition that is open to submission
by all artists resident in the UK. It is selected from original art works
made since January 2014. The Jerwood Drawing Prize 2015 awards are
announced at the Private View at Jerwood Space London, on Tuesday 15
September 2015.
PRIZES
First Prize – £8000
Second Prize – £5000
Two Student Awards – £2000 each
AWARD WINNERS AND SELECTORS 1994-2014
1994
Selectors: Award Winners: Graham Crowley, Anthony Green RA, Estelle Thompson
Sharon Beavan (Rexel Derwent Prize)
Louise Cattrell (Cheltenham Prize)
Ken Lowe (Student Prize)
Gerry Davies (Highly Commended)
David Oates (Highly Commended)
Judith Tucker (Highly Commended)
Angela Weyersberg (Highly Commended)
1996
Selectors: Award Winers: Peter de Francia, Deanna Petherbridge, Anita Taylor
Kenny Lowe (Purchase Prize)
Jane Dixon (Prizewinner)
Barry Kemp (Prizewinner)
Peter John (Prizewinner)
David Oates (Prizewinner)
Kay Pont (Prizewinner)
Irrum Ahmed (Student Prize)
1997
Selectors: Award Winners: Timothy Hyman, Felicity Lunn, Nick Tite
Rebecca Salter (Major Award)
Peter Darach (Award)
Caroline Frood (Award)
Andrea Mclean (Award)
Milda Gudelyte (Student Award)
Matthew Watkins (Student Award)
Gerry Davies (Commendation)
Alison Harper (Commendation)
Judy Inglis (Commendation)
Yoko Omoni (Commendation)
David Prentice (Commendation)
Mandy Pritchard (Commendation)
Angela Rogers (Commendation)
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1998
Selectors: Award Winners: David Alston, Eileen Cooper RA, Nicola Shane
Wynne Jones (Major Award)
Michael Grimshaw (Award)
Jane Joseph (Award)
Joyce Gunn Cairns (Award)
Alison Harper (Award)
Mia Fernandez (Student award)
Mark Harris (Student Award)
Jeanette Barnes (Comendation)
David Connearn (Commendation)
Tam Inglis (Commendation)
Sophie Knight (Commendation)
Debbie Lee (Student Commendation)
Robin Mason (Commendation)
Mary Nelson (Commendation)
Christopher Nurse (Commendation)
Alan Stones (Commendation)
Sarah Woodfine (Commendation
1999
Selectors: Award Winners:
Angela Flowers, Alexander Moffat
Anna Mazzotta (Major Award)
Frances Aviva Blane (Award)
Joanna Greenhill (Award)
Anita Taylor (Award)
Martina Schmid (Student Award)
2000
Selectors:Andrew Brighton, Mel Gooding, Isobel Johnstone,
Doris Lockhart Saatchi
Award Winners:
David Connearn (Major Award)
Jane Harris (Award)
Anne Howeson (Award)
Lorraine Robbins (Award)
Emma Oldridge (Student Award)
Nina Troitsky (Student Award)
2001
Selectors:
Award Winners: Frances Carey, Richard Cork, Angela Kingston
Kate Davis (1st Prize)
Sian Bowen (2nd Prize)
Paul Ryan (3rd Prize)
Lisa Cathro (Student Prize)
Jen-Wei Kuo (Student Prize)
2002
Selectors:
Award Winners:
Marco Livingstone, Cornelia Parker, Marina Warner
Adam Dant (1st Prize)
Ansel Krut (2nd Prize)
Jane Harris (3rd Prize)
Susan Collis (Student Prize)
Chie Konishi (Student Prize)
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2003
Selectors:
Award Winners: 2004
Selectors:
Award Winners:
2005
Selectors:
Award Winners:
Ken Currie, William Feaver, Anita Taylor
Paul Brandford (1st prize)
Jeanette Barnes (2nd Prize)
Bryan Biggs (3rd Prize)
Caroline Edwards (Student Prize)
Joshua Thomson (Student Prize)
Basil Beattie, Mary Doyle, Tony Godfrey
Sarah Woodfine (1st Prize)
Stephen Walter (2nd Prize)
Tom Hammick (3rd Prize)
Ailbhe Ni Bhriain (Student Prize)
Conrad Frankel (Student Prize)
Stephen Farthing RA, Martin Kemp, Sarah Simblet
Juliette Losq (1st Prize)
Katie Cuddon (2nd Prize)
Amanda Couch (Student Prize)
Linda Meakin (Student Prize)
2006
Selectors: Award Winners: Jason Brooks, Yvonne Crossley, Paul Thomas
Charlotte Hodes (1st prize)
James McLellan (2nd Prize)
Zoe Anderson (Student Prize)
James Wright (Student Prize)
2007
Selectors: Award Winners:
Paul Bonaventura, Avis Newman, Catherine de Zegher
Melanie Jackson (1st Prize)
Brighid Lowe (2nd Prize)
Minho Kwon (Student Prize)
Daisy Richardson (Student Prize)
2008
Selectors:
Award Winners:
Tony Bevan, Emma Dexter, John McDonald
Warren Baldwin (1st prize)
Lia Anna Hennig (2nd Prize)
Tobias Teschner (Student Prize)
Aline von der Assen (Student Prize)
2009
Selectors:
Award Winners:
Tania Kovats, Roger Malbert, Nicholas Usherwood
Mit Senoj (1st prize)
George Chapman (2nd Prize)
Frances Stacey (Student Prize)
Roxanne Goffin (Student Prize)
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2010
Selectors:
Award Winners:
Charles Darwent, Jenni Lomax, Emma Talbot
Virginia Verran (1st Prize)
Cadi Froehlich (2nd Prize)
Warren Andrews (Student Prize)
James Eden & Olly Rooks (Student Prize)
2011
Selectors:
Award Winners:
Iwona Blazwick, Tim Marlow, Rachel Whiteread
Gary Lawrence (1st Prize)
Jessie Brennan (2nd Prize)
Nicki Rolls (Student Prize)
Kristian Fletcher (Student Prize)
2012
Selectors:
Award Winners:
Stephen Coppel, Kate Macfarlane, Lisa Milroy RA
Karolina Glusiec (1st prize)
Bada Song (2nd Prize)
Katie Agett (Student Prize)
Min Kim (Student Prize)
Jane Dixon (Highly Commended)
2013
Selectors:
Award Winners:
Kate Brindley, Michael Craig-Martin RA, Charlotte Mullins
Svetlana Fialova (1st Prize)
Marie von Heyl (2nd Prize)
Kristian Fletcher (Student Award)
Tamsin Nagel (Student Award)
Neville Gabie (Special Commendation)
Gary Lawrence (Special Commendation)
2014
Selectors: Award Winners:
Gavin Delahunty, Janet McKenzie, Alison Wilding RA
Alison Carlier (1st Prize)
Sigrid Muller (2nd Prize)
Ara Choi (Student Prize)
Annette Fernando (Student Prize)
Sally Taylor (Special Commendation)
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ACKNOWLEDGEMENTS
Jerwood Charitable Foundation and the Jerwood Drawing Prize project would like to thank
everyone who has contributed to the origination of the Jerwood Drawing Prize 2015 exhibition.
In particular:
Project Management and Marketing, Parker Harris
Selection Panel Coordinator & Co-founder, Paul Thomas
Chief Technician, Marc Thomas
Jerwood Visual Arts, Hannah Pierce, Oliver Fuke, Lauren Houlton and James Murison
The 2015 Team of Handlers and Administrators
Phoebe Baines, Euan Baker, Holly Beighton, James Collins, Lucy Cox, Jasmir Creed,
Gavin Edmonds, Barney Gammond, Fred Hoffman, Alexander Ioannou, Ravina Jassal,
Lia Leozappa, Elizabeth Mackintosh, Kieron Marchant, Luke McArthur, Florence Mytum,
Charlie Newhouse, Rose Parker, Tara Parmar, Helen Rawlins, Ffion Reed, Tom Savery,
Alexandra Stevens, Dimitri Yin
The 2015 Regional Collection Centres, their Representatives and the
Transportation Team
The staff at Wimbledon College of Art, University of the Arts London; Dan Young,
University of Gloucestershire; Catriona Morley, Victoria Rankin, Ailie Ormston, Claire
Chalmers, Elle Arscott, Edinburgh College of Art; Carl Rowe, Andrea Girling, Rebecca
Kadi, Norwich University of the Arts; Richard Talbot, Sofija Sutton and Helen Shaddock,
Newcastle University; Kerry Harker, Ruth Williamson, Hayley Mills-Styles and the team
at The Tetley, Leeds; David Tinkham, Selina Ogilvy, Rachelle Aaronson, Clare Thatcher,
April George, Victoria Bone, Bath School of Art and Design, Bath Spa University; Hannah
Jones, Leah Harris, Julie Ellis, Andy Cluer, Lisa Davidson, Plymouth College of Art; Chris
Brown, Megan Winstone, Rebecca Thomas, g39, Cardiff; Doris Rohr, Siobhan McQuade,
Joanne Proctor, University of Ulster; Art Moves of Chelsea, Art Works, Irish Art Courier,
Picture Post and South Hams Express who all transported work to and from the London
collection centre.
The 2015 Tour Partners and their Representatives
Cheltenham Art Gallery and Museum: The Wilson
Sidney Cooper Gallery
Falmouth Art Gallery
For their generous support of the catalogue