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ThinkingthroughDrawing2015

ThinkingthroughDrawing2015 WeAllDraw 6–8November2015 Bargehouse,OxoTowerWharf,BargehouseStreet,SouthBank,London,SE19PH 1

WeAllDraw

6–8November2015

Bargehouse,OxoTowerWharf,BargehouseStreet,SouthBank,London,SE19PH

ThinkingthroughDrawing2015 WeAllDraw 6–8November2015 Bargehouse,OxoTowerWharf,BargehouseStreet,SouthBank,London,SE19PH 1

Contents:

Welcomemessage

2

Floorplans

3

Guestpanelists

4

Timetable

5

Listofconcurrentworkshops

6

Fridayactivities

7

Saturdayactivities

12

Sundayactivities

34

CoverimagecourtesyofYoonBahk.

WeAllDraw

WeAllDraw

WelcometoWEALLDRAW!

Wehaveapackedprogrammeforyouthisyear,with1film,2exhibitions,3masterclasses,5guestperformances

andinterventions,26workshopsandapanelofguestexpertstounpacktheproceedings.Pleasemakesureto

signupeachmorningfortheworkshopsyouwanttoattendtoavoiddisappointmentasplacesineachoneare

limited.

Ourvisionforthesethreedaysisforeverybodytohavetheopportunitytotryneworunexpectedwaysof

drawing.Wehopeyouenjoytheexpansiverangeofpracticesandapproachesonofferandconnectwithmany

colleaguesfromaroundtheworldwhoshareourbeliefintheimportanceofdrawingandvisualisationfor

learning,research,collaboration,wellbeingandcollaborativethinking.Wehopeallofyoufindsomethingyou

cantakeawayanddevelopintoyourownpracticeorteaching.

Weencourageyoutotapeyourdrawingstothewallsduringthesymposium,sothattheyaccumulateoverthe

threedaysandactasacatalystfordiscussionandconnection.Wealsoencourageyoutotakeyourdrawings

homeattheend,aswewillnotbeabletokeepholdofthemafterwards.(Anydrawingsformallysubmittedto

theexhibitionswill,ofcourse,bereturnedtoyouwithduecare.)

Ifyouwish,youcanfollowourtwitter,instagramandfacebookfeedsduringandaftertheevent,whichwillbe

updatedbyourdedicatedsocialmediateam.Pleasefeelfreetocontributeyourphotosandcomments,andto

sharewithotherswhocan’tmakeit.

WewouldliketoextendspecialthankstoTaniaKovats,KellyChorpeningandErinWeirsmawhohavecuratedthe

twoexhibitionsonshowthisweek,toMalcolmQuinnofCCWGraduateSchool,toSimonBettsofWimbledon

SchoolofArt,toChrisOwenofCambridgeSchoolofArt,toJudyBurtonofTeachersCollegeColumbia,andto

KateMasonandtheCampaignforDrawingteamfortheirendorsementandsupportofouractivitiesthisweek.

Wearealsodeeplygratefultoallofyouwhohavetravelledtheglobe,armedwithpencils,toshareyourideas

andpracticeswithallofus.

MichelleFava,AngelaBrew&AndreaKantrowitz

andpracticeswithallofus. MichelleFava,AngelaBrew&AndreaKantrowitz 3

WeAllDraw

WeAllDraw 4

OurGuestPanelists:

WeAllDraw

BarbaraTverskyisaProfessorEmeritaofPsychologyatStanfordUniversityandaProfessorofPsychologyand EducationatTeachersCollege,ColumbiaUniversity.Tverskyspecialisesincognitivepsychology.Sheisaleading authorityintheareasofvisual‐spatialreasoningandcollaborativecognition.Tversky'sadditionalresearch interestsincludelanguageandcommunication,comprehensionofeventsandnarratives,andthemappingand

modelingofcognitiveprocesses.BarbarareceivedaB.A.inPsychologyfromtheUniversityofMichiganin1963

andaPh.D.inPsychologyfromtheUniversityofMichiganin1969.ShehasservedonthefacultyofStanford

Universitysince1977andofTeachersCollege,ColumbiaUniversitysince2005.ShewasnamedaFellowofthe

Psychologyin2004.In1999,shereceivedthePhiBetaKappaExcellenceinTeachingAward.Tverskyisanactive

andwell‐regardedteacherofpsychologycoursesatboththeintroductoryandadvancedlevel.Inaddition, Tverskyhasservedontheeditorialboardsofmultipleprominentacademicjournals,includingPsychological

Research(1976‐1984),theJournalofExperimentalPsychology:Learning,MemoryandCognition(1976‐1982),the

JournalofExperimentalPsychology:General(1982‐1988),MemoryandCognition(1989‐2001),andCognitive

Psychology(1995‐2002).

JudithBurtonisProfessorandDirectorofArtandArtEducation,ColumbiaUniversityTeachersCollege,NYC. BeforethatshewasChairofArtEducationatBostonUniversityandtaughtattheMassachusettsCollegeofArt.

ShereceivedherEd.D.fromHarvardUniversityin1980.Herresearchfocusesontheartistic‐aesthetic

developmentofchildrenandadolescentsandtheimplicationsthishasforteachingandlearning.In1995,she

co‐foundedtheCenterforResearchinArtsEducationatTeachersCollege,andin1996,shefoundedtheHeritage

Schoolacomprehensivehighschoolfeaturingthearts,locatedinHarlem,NYC.

VinodGoeloriginallytrainedasanarchitect.However,unabletodeveloptheskillstosketch,drawandvisualize inthreedimensions,andmesmerisedbyseveralbooksbyNicholasNegroponte,hesteppedoutsideofthefieldto tryandfigureouttherelationshipbetweenmindanddesign.HeeventuallyendedupatBerkeleywherehe studiedphilosophy,computerscience,andpsychologyandcompletedaninterdisciplinaryPh.D.incognitive

science.Vinod’s1995textSketchesofThoughtchallengedcomputationalparadigmsincognitivescienceand

addressedtheindeterminateandnon‐propositionalaspectsofourthinking.

FRIDAY

WeAllDraw

10am

Registrationopens(lunchwillnotbeprovidedonFriday)

12.30

Warmupactivity.‘ZenofVoice’tune‐in:Apreparationfordrawing,enliveningandhoningthe

sensesthroughthesingingvoicewithStefanCartwright

1.15

Welcome

1.30

Masterclass:‘DrawingImprovisations’withAndreaKantrowitz,followedbypaneldiscussion

3.45

DrawingtoworkshopwithYoonBahk

4.30

PrivateviewandperformancesfromSaranjitBirdiandEricaBohr

SATURDAY

10am

Registration&signingupforworkshopsandlunchtimediscussiongroups

10.30

Masterclass:‘TheArtofTeachingScienceThroughDrawing’,withMerrieKoester,

followedbypaneldiscussion

12.30

Lunch(discussiontablesstartat1pm)

2pm

Concurrentworkshops

3.30

Break

4pm

Drop‐inworkshops

5.30

Workshopfeedback

6pm

Close

SUNDAY

10am

Registration&signupforafternoonworkshops

10.30

Masterclass:‘DrawingasanactofGenerosity’,withKimSloane,followedbypaneldiscussion

12.30

Lunch&filmscreening

2pm

Concurrentworkshops

1.30

Performance:MattFreedman

4pm

Finalreflectionsandfeedbackwithpanel

6pm

Close

SaturdayLunchtimediscussiontables:1pm

WeAllDraw

Whydopeoplestopdrawing?

CyraLevenson

Observationaldrawinganddyslexia

HowardRiley&QonaRankin

SupportingChildren’sdrawingdevelopment

MartaCabral

SaturdayConcurrentworkshops:2pm

AboutLonelinessandcontact

EmmaFält

MakersofImagery:ExtravagantEdges,LinesandForm

SusanBeniston&CynthiaHellyerHeinz

Dot,Line,Shape,Pattern,Preference,Form

MichaelMoore

Beingpresentinyourownbody

Christian&GroCecileMontarou

MazingtheFace–TracingtheGaze

PamelaLawton

Ariverrunsthroughus

JillJourneaux

AnimatingtheBargehouse

SaraSchneckloth

EmbodiedAnatomyClass

EmilySheehan

DrawingintheFourthSpatialDimension

GemmaAnderson&AlessioCorti

SaturdayDropinsessions:4pm(noneedtobook)

ExploringtheBargehousethroughdrawingandstitch

RosieJames,MarciaTeusink

HapticDrawing:TheTactileSelf‐Portrait

MarnaShopoff

ReflectionIn&OnNetworkDrawing

ClaireScanlon,PaulGrivell

MemoryDrawing

MichelleSalamon

VerbalDrawing

JoannaNeil

TheContingentSpace

ThomasAlbrecht

DrawingEnergy

FloraBowden

RulesofDrawing:makingandbreaking

TaniaKovats&herMAstudents

MapDrawing

RobinWhitmore

Hearts,MindsandGuts

AngelaHodgson‐Teal

DrawingCirclesmeeting

AngieBrew&GaganSingh

SundayConcurrentworkshops:2pm(PleasesignuponSundaymorning)

Both/AndDrawing

AngelaRogers&DuncanBullen

Exploringandevaluatingdrawinginthefieldofmedicine

JennyWright&DimitriosPanagiotopoulos

DrawingGym

MichaelNamkung

Collaborative,narrativedrawing

LucyLyons,PatrickLetschka&PhilippaLyon

Play,Chance,andComics

MattFinch

Knucklebones:Theartofmakingyourmark

SuzetteSnyman

NavigatingIrreducibleHumanity(withaPencil)

ThomasBosket

WeAllDraw

Friday1.30pm

Masterclass:DrawingImprovisations,

withAndreaKantrowitz

Inventordiscoversomethingnewthroughthe

processofdrawingitself,somethingneverbefore

seenorimagined.

Createyourown“drawingimprovisations,”basedon researchthatintegratedmethodsandtheoryfromart andcognitivepsychologytostudythecognitive interactionsunderlyingcontemporaryartists’ improvisationaldrawingpractices. Improvisation,in music,comedyorinlifecanbeunderstoodasaskillful responsetounpredictableevents,yetdrawingskillis oftenregardedastheabilitytoaccuratelytranscribea knownimageontoaflatsurface.Butartistsand othersdrawnotonlytotranscribeandcommunicate animagealreadyfixedintheworldorintheirmind, butalsotoinventordiscoversomethingnewthrough theprocessofdrawingitself,somethingneverbefore seenorimagined.Althoughundoubtedlyintertwined anditerativeinpractice,thesetwogoals,totranscribe ortodiscover,canbeseenastheextremesofa continuum. Thismasterclasswillexplore

transforming2‐Dforminto3‐Dformandbackagain,

throughpaperfoldinganddrawing focusingon improvisationaldrawingasameansofexploration anddiscovery.

improvisationaldrawingasameansofexploration anddiscovery. ( ​

(Photographer:TimTiebout,courtesyofthePhiladelphiaMuseumofArt)

AndreaKantrowitz,EdD.,isanartist,researcher,educator,andco‐directoroftheThinkingthroughDrawing Symposiumseries,whohaslecturedandgivenworkshopsinternationallyonartandcognition. SheholdsaB.Ain ArtandCognitionfromHarvardUniversityandaMFAinPaintingfromYale,andteachesatTylerSchoolofArt, TempleUniversity. ShehastaughtdrawingatPrattInstituteinBrooklynandgraduatecoursesincontemporary artattheCollegeofNewRochelle.ShehasalsobeenateachingartistintheNewYorkCityformanyyears, involvedinmultiplelocalandnationalresearchprojects.Sherecentlycompletedaninterdisciplinarydoctorateat TeachersCollegewhichexaminedthecognitiveinteractionsunderlyingcontemporaryartists’drawingpractices. HerblogisZyphoid.comandherownartworkisrepresentedbyKeniseBarnesFineArt.

Friday3.45pm

Drawingto

withYoonBahk

Thisworkshopwillhelpyoudiscoverafewthings:

WeAllDraw

2. You’requitegoodatdrawing.

3. Youcanusethesedrawingsasatooloraprocessforunderstanding,rememberingandcommunicating.

4. Whyyoushouldincorporatethesedrawingsaspartofyourworkprocessinwhateveryoudo.

Youwillreceivebasicknowledgeandskillsandmostimportantly,confidencetocapturestories,ideas,systems,

journeysandmoreinavisualformat.

journeysandmoreinavisualformat. YoonBahkisadesigner andeducator,basedin

YoonBahkisadesigner

andeducator,basedin

London,whospecialisesin

designthinkingand

thinkingthroughdrawing.

SheisaSeniortutorand

programmeleaderinthe

InnovationDesign

EngineeringMasters

CourseattheRoyalCollege

ofArt.Thinkingthrough

drawingisattheheartof

herdesignandinnovation

processandoutsideof

academiasheconsultsa

widevarietyofclients

usingdrawingtofacilitate

theprocess.

WeAllDraw

4.30pmFriday

WelcomeeventandPrivateView:

‘WeALLDraw@UAL’,curatedbyTaniaKovats&KellyChorpening

‘WEALLDraw:ThinkingDrawings’,openexhibitioncuratedbyErinWiersma

WeALLDraw:ThinkingDrawingsincludes

WeALLDraw:ThinkingDrawingsincludes

drawingssubmittedbypost,fromartists

andthinkersinternationally.Theyoffer

examplesofdrawingasatoolforthought.

Thedrawingsdisplayedareresponsesto

thequestions(raisedatourprevious

symposia):

Whendosurgeonsusedrawing?

Howdoscienceteachersusedrawing?

Whydoestheengineerusedrawing?

Howcandrawingbeusedasasocial

practice?Wheredoartistsdraw?

Doesdrawingfacilitatedialogue?

Couldadrawingresolveadispute?

Doesdrawingpromotewellbeing?

Canadrawingsing?

WeAllDraw@UALincludesdrawingsfromstudentsandstaff

andrecentalumniacrossUALcampuses,whowereinvitedto

submitonedrawingeachtoshowcasethescope,diversityand

depthofdrawingacrosstheuniversity.Wearedelightedwith

theresponsetothecallandthebreadthofthesubmissions,

fromacrosscolleges,courses,departments,andincluding

stafffromcollegeshops,aswellastechnicians.Weare

particularlyinterestedinworkingdrawings,thathelpusto

thinkandtofigurethingsout.Weencouragedpeopletosend

drawingsmadeinsketchbooksorstudioasapartof

preliminaryworkingprocesses,aswellas‘finished’drawings.

Theselectedworksincludeeverythingfromspontaneous

drawingsonthebackofenvelopestosustaineddrawingson

traditionaldrawingpapers.

drawingsonthebackofenvelopestosustaineddrawingson traditionaldrawingpapers. 10

WeAllDraw

Fridayeveningperformance: ‘Feetfacefeet’,with SaranjitBirdi

Usinghisfeet,inastandingposture,theartistwillbesketchingthefeetandfacesofdelegatesattheTTDevent.

Thedelegateswillbeallowedtophotographorvideothework,andabletoobserveandtalkwiththeartist

duringandafterthedrawingsession.

SaranjitBirdidiscoveredhisabilitytodraw accuratelywithvariouspartsofhisbody,which hebelievesstemfromhisconditioningasa dancerandmartialartstraining. Henow exploreshumanevolutionandcognition throughhisdrawingpractice.Saranjithasused drawinginrehabilitationforsurvivorsof brain‐damageandalsopresentedhisdrawing practicetotheschoolsofBioscienceand PsychologyatUniversityofBirmingham, collaboratinginsubjectsincludingcognitionand muscleplasticity.

muscleplasticity. ​ http://www.axisweb.org/p/saranjitbirdi/ ​ https://vimeo.com/user3460668 11

WeAllDraw

Fridayeveningperformance: ‘Totem’byEricaBohr

ThefemalehyenaformsacentralmotifthatrecursthroughouttheSouthAfrican‐bornartist'spractice.Thehyena

performsashamanicfunction,andalsoexistsasametaphorforfemalewarriorresistancetoPatriarchy.In

pan‐Africanmythologiesthefemalehyenaisregardedasapotenttalismanofevil:ashape‐shifting,soul‐stealing

interloperandsuccubus.

In'Totem',2015,Ericarecountsthestoryofherencounterwithhyenas,andherdream‐drawingofoneofthem

thatresultedinthestatusof'Umthagathi'(malewizard)beingconferredonherbylocalpeople,whowitnessed thedrawing. Shewillattempttorecreatethedream‐drawinginthesandoftheThamesatlowtide,oronan urbanconcretesurface,asthetraceofatraceofapastexperienceintheTropicofCapricorninSouthernAfrica manyyearsago.Afollowup performancewillrecreatethispalimpsestdeepinalargeindigenousforestin Potsdam‐MittelmarkinruralGermany,hometoalocalwolfpopulation.

EricaBöhr'smulti‐media,inter‐disciplinaryfineartpracticeisconcernedprimarilywithidentitypolitics. Her practicecritiquesthesocialconstructionofgenderandhowgenderisperformedinapatriarchalmatrix,where womenarebornintotheinsubordinatesexclass. Herpracticeisunapologeticallypoliticalandencompassestext,

performance,drawingandinstallation.Ericagraduatedin2011fromCambridgeSchoolofArtandcurrentlylives

andworksinBerlin.

ericabohr@me.com

WeAllDraw

SaturdayMasterclass:TheArtofTeachingSciencethroughDrawing:

TheScienceandArtoftheKnobbedWhelkandTheEutrophicationBlues

WithMerrieKoester

Thispresentationoffersamodelforteachingscienceasaestheticinquirythroughthecreationof“Know”tations, singlepagevisualexplanatorymodels,whichintegratethewords,images,symbolsandactionsofsituated,

contextual,5Escienceinquiry.Theformandfunctionofthe“Know”tationvarieswiththestageofinquiry–

Engage,Explore,Explain,Extend,orEvaluate.PleasejoinDr.Koesterfortwo“performances”:TheScienceandArt

oftheKnobbedWhelkandTheEutrophicationBlues.

oftheKnobbedWhelkandTheEutrophicationBlues.

MerrieKoester,Ph.D.,isaU.S.scienceeducator,arts‐basededucationalresearcher,painterandauthorofthe AgnesPflummscienceeducationnovels,implementedbyU.S.teachersnationwide.Shepresentlyservesasthe directorofProjectDrawforScience,anactionresearchinitiativeattheUniversityofSouthCarolina.Anativeof Charleston,SC,andaPhiBetaKappagraduateofFurmanUniversity,Dr.Koesterfirstbegandeveloping curriculumforteachingsciencethroughtheartsaspartofhermasters’researchattheUniversityofHawaiiin

1990.Sincethattime,shehasworkedtirelesslytofacilitateprofessionaldevelopmentworkshopsonteaching

sciencethroughthearts,speakingatdistrict,state,andnationallevelscienceeducationconferencesthroughout theU.S.AkeyfeatureofDr.Koester’scurriculumisthedeepeningofsciencepedagogicalcontentknowledge throughthepracticeofwhatshecallsperformativenarrativedrawingandthecreationofgraphic“Know”tations. Inhermostrecentresearchandpublication,ScienceTeachersWhoDraw:TheRedIsAlwaysThere(availableat theWeAllDrawsymposium),Dr.Koesternarratescasestudiesoffivescienceteachers,andoffersarationalefor usingdrawingastheprimarylanguageandamediumofcognitionforstudentswhoarestrugglingreaders, atany gradelevel.

WeAllDraw

SaturdayLunchtimeDiscussionGroups(pleasesignupinthemorning)

‘Why westopdrawing’,withCyraLevenson

Mostchildrendrawspontaneously,whetherit’sonapieceofpaper,onachalkboard,orinthedirt.Drawingisan

ancientandfundamentalhumantoolforcommunicating.However,manyadultsfeelthattheycan’tdraw,some

evenfeardrawing.Whydoesthisshiftoccur?Whatcontributingfactorsexist?Howmightweshifttheperception

ofdrawingasan“expert”disciplinetoonethatanyonecanuse?

CyraLevensonisCuratorofEducationattheYaleCenterforBritishArt,lecturerintheAmericanStudiesatYale UniversityandonfacultyatParisCollegeofArt. ShehasworkedcloselywithfacultyandK‐12educators throughouthertenureandbelievesstronglyincollaborationbetweenmuseumsandclassrooms.Research interestsincludecreativityandcognition,visualliteracyandcriticalpedagogy.Publicationsinclude,“Seeing, Connecting,Writing:DevelopingCreativityandNarrativeWritinginChildren”inHandbookofWriting, “Re‐presentingSlavery:UnderservedQuestionsinMuseumCollectionsinStudiesinArtEducation,andthe forthcoming“BustofaMan:theMatterofaNeoclassicalBlackIcon”inBritishArtStudies.Cyrawasalsothe co‐curatoroftheexhibition,FiguresofEmpire:SlaveryandPortraitureinEighteenthCenturyAtlanticBritain.

‘Observationaldrawinganddyslexia’,withHowardRileyandQonaRankin

Thisworkshopwillfacilitatediscussionaboutstrategiesfortheteachingofobservationaldrawingingeneral,but

specificallytoinvitethesharingofexperiencesaboutprovisionforstudentswhoaredyslexicand/ordyspraxic.

ThesessionincludesashortvideoofrecentdrawingworkshopswithdyslexicstudentsattheRCA.

QonaRankinistheDyslexiaCo‐ordinatorattheRoyalCollegeofArt.Initiallyadesigner,in1997shere‐trainedin

DyslexiaSupport.In2004,discussionswithstudentsregardingtheirperceivedinabilityto‘drawwell’ledtoher

formingaresearchcollaborationwithcolleaguesattheSwanseaCollegeofArt,MiddlesexUniversityand

UniversityCollegeLondon.In2008,QonasetuptheCreativeMentorsFoundationwhichshenowruns.Shealso

continuestodesignandmakejewellery.

ProfessorHowardRileystudiedattheHammersmithCollegeofArt,CoventryCollegeofArt,andtheRoyal CollegeofArt. HeholdsadoctorateoftheUniversityofWalesinthepracticeandpedagogyofdrawing. Hehas publishedintheareasofdrawingpedagogy,visualsemiotics,andmostrecently,collaborativeresearchintothe relationshipsbetweendyslexiaanddrawingabilitywithcolleaguesQonaRankinRCA,ChrisMcManusUCL,Nicky Brunswick,Middlesex,andBeckyChamberlain,UniversityofLeuven.Riley'sdrawingshavebeenexhibitedin Australia,Malaysia,Finland,theUSAandtheUK.

‘Supportingchildren’sdrawingdevelopment’,withMartaCabral

Thediscoveriesofmark‐makingarecrucialforearlyartisticdevelopment.Theexplorationofphysicalmotions

andthediscoveryofthemarkstheymake,isanearlysteptomakingsenseoftheworldthroughdrawing.Young

childrendrawwhattheyexperienceandanexploratoryapproachtoartcanhelpthemunderstandtheworld

throughtheirexperienceswithmaterials.Thisinformaldiscussionwilladdressaspectsofsupportingyoung

childrenintheirexperimentationandexplorationsindrawing.

MartaCabralisacuratorofartworks,artisticexperiences,andplay.Sheworkswithpeopleofallagesexploring

artmaterialsandideasinsettingsrangingfromstudiostoclassrooms,galleries,universities,conferencerooms,

andbeyond.Martateachesgraduate‐levelcoursesinArtEducationandsupervisesstudent‐teachersatColumbia

University'sTeachersCollege.Asanartist‐in‐residenceandresearchfellow,sherunsColumbiaUniversity'sRita

GoldEarlyChildhoodCenter'sartprogramforinfants,toddlers,andpreschoolers.BasedoutofBrooklyn,NY,she

createsandstrengthensartprogramsandeventsaroundtheworld.

Saturday,2pm,Concurrentworkshop:

Aboutlonelinessandcontact,

withEmmaFält

WeAllDraw

Thisworkshopusesgroupdrawingtostudytheconceptofloneliness.Theprojectstartedwithagroupofyoung

peopleinNorthernSavonia,Finland.Fältisdoinggroupdrawingsindifferentplacestostudythethemesof

lonelinessandcontactwiththeworldandourwaysof“mapping”andunderstandingthelivedenvironments

withoutnecessitytousewordsorevenlook.ForFälttheessenceofunderstandingislisteningandfindingyour

ownvoiceviathat.

Workhasbeengoingonnowfor2yearsandisdoneincollaborationwithTheRegionalDanceCenterofEastern

Finland(ITAK)andsupportedbyArtsPromotionCentreFinlandandTheFinnishCulturalFoundation.

Fältisfocusingonmarvellingattheworldthroughdrawingandperformanceart.Importantthemesinherwork

aremovement,improvisationandtogetherness.Fält’sworktakesacomprehensivelookatdrawingasaliveact,

aninstrumentofcommunicationandameanstocollaborativelyexploreourexperienceoftheworldaroundus.

EmmaFältisbasedinKuopio,Finland

http://vallpiga.wordpress.com/

WeAllDraw

Saturday,2pm,Concurrentworkshop:

MakersofImagery:ExtravagantEdges,LinesandForm,withSusanBeniston

&CindyHellyerHeinz

Howdoestheexperienceofmark‐makingalterthewaywecomprehendspace?

Howdoesformimpactinteraction,useandconstructionofobjects,spaceandinfinitedirection?

Howcanweanimatethestaticnatureofformwiththerecognitionthatinrealityeverythingisinflux?

Thisparticipatoryworkshopwillventureintodrawingasatransformativepracticefrommark‐makingand

rhythmsonpaper,extendedintothree‐dimensionalformsinspace.Itwillalsoincludethedimensionoftimeand

motion.Drawingasanenactedpractice,parallelshowweexperiencelifeandinteractionswithinourperceived

context.Linebecomesform,formbecomesmovement,allbecomecultivatedbytheobstaclesthatmakeus

adaptandexpandorreflectandconsider.

Ourinterestisinfacilitatingchangethroughcreativesocialpractices,whichareengagedthroughmaterialsand

processes.Wewillexplorethinkingthroughmaterials,lettingthemediuminfluenceandmediateanintuitive

rangeofvisualexperience.Theinitialpracticewillbeginwithelicitingspontaneousdrawnresponses,andthen

identifygraphicconnectionsthroughsmalldyadic/triadicgroups.Toconnectrelationally,wewilllinkparticipants

inoverallshiftsthroughmaterials,inaprocessthatinvolvesco‐‐creatinglargescale,collaborativedrawingsand

embodiedforms.

SusanBenistonisanartist,educatorandregisteredarttherapistwhoteacheswithintheFacultyofAnimation,

ArtsandDesignatSheridanCollegeinOntario,Canada.SheisafacultypeercoachinSheridan’sCentrefor

TeachingandLearning,anhonoursgraduateoftheVancouverSchoolofArtandhasanMFAfromtheUniversity

ofWaterloo.Althoughherideasareexpressedsculpturally,Susan’sresearchhasbeenrealizedthrough

interdisciplinarycollaborationswithartists,choreographers,andcomposers.Someworks,suchas‘IntoLimbo’for

theTorontoSculptureGardenhavebeendesignedasoutdoorinstallations.Susanhasanextensiveexhibition

historyandiscomfortablecrossing‐disciplinesandboundariesinartpracticesthatleadtoprogressivewell‐being.

CindyHellyerHeinzistheFoundationsCoordinatoratNorthernIllinoisUniversity. Sheisanactiveartistand illustrator. Herdrawingshavebeenexhibitedinmuseumsandgalleries,andfeaturedinbooksandjournals.Her imagerydescribesthehumanagingprocess,parallelingnature’scyclesofregeneration. Cindyisacommittedand passionatearteducator,workingwithbothFoundationsstudentsandfacultytooffertheoptimallearning experienceinthefirstyear.ParticipationwithIntegrativeTeachingInternational,theorganizationthatcreated tenyearsofThinkTanks,whichfocusesoncorelearninginart,haspropelledthedevelopmentofaseriesof drawingworkshopswhicharetargetedtowardteachingideageneration,processandskilldevelopment.

SusanandCindy’scollaborationisbasedontheirextensiveinvolvementswithFATE:FoundationsinArt:Theory

andEducation“FacilitatingExcellenceinArtFoundations”

http://www.foundations‐art.org/whichalsooffersIntegrativeTeachingInternationalandThinkTankCatalysts

http://integrativeteaching.org/

WeAllDraw

Saturday,2pm,Concurrentworkshop:

Dot,Line,Shape,Pattern,Preference,Form,withMichaelMoore

Adrawingbecomesvitalandaliveasitevolvesfromitsoriginaldottothelines,shapes,andpatternsofitsfinal

form,guidedbythepreferencesofthepersonwhoisdrawing.Thelifeofthedrawingbelongstothepersonwho

madeit,buttheoriginaldotandthefinalformbelongtoeveryone.Noonepersonownsthedot,andeveryone

cansharetheformonceitisconcludedandreleasedforobservationandinterpretation.

Understandingdrawingasapreferentialprocessfromdottolinetoshapetopatterntoformcanbeausefulpath

formakingdrawingsfromtheinside/out,andforseeingdrawingsfromtheoutside/in.

Usingwhatevertoolstheyprefer,participantswillbeguidedtoselectthesubjectsandobjectsthatbestfacilitate

theirabilitytodrawwithincreasedattentiontothissequentialprocessfromdottolinetoshapetopatternvia

theintimateparticularitiesofpreferencetowardthefulfillingconclusionofform.Participantswillviewallofthe

drawingsanddiscusstheirprocesses,asseenwithintheevidenceofthedrawings,andasrememberedfrom

havingdrawnthem.

MichaelMooreholdsaBFAdegreein PrintmakingfromSyracuseUniversityandan MFAdegreeinDrawingfromtheUniversityof Washington.MichaelstudiedInuitcarvingsin

Churchill,Manitobain1975.Hetraveledto

Japanin1988and2001,andtoChinain2001.

HetaughtattheUniversityofSouthernMaine,

1967‐1992,theCallendarParkCollegeof

Education,Falkirk,Scotland,1972/73.Michael

hasbeenamemberoftheGraduateFacultyat ThePennsylvaniaAcademyoftheFineArtsin

Philadelphia,since1992,wherehewasDirector

ofGraduatePrograms,1994‐98,andChairof

thePost‐BaccalaureateProgram,2004‐13.Asa

memberoftheGraduateFaculty,heteaches Drawing,andadiscussionseminarentitled Subject,Form,andContent.Hetaughttwelve drawingworkshopsatTheHaystackMountain

SchoolofCrafts,1985‐2012.Michaelmaintains

studiosinPhiladelphiaandMaineandhas exhibitedhisworkinavarietyofsolo,group,

andfacultyexhibitionsduringthepast45years.

www.drawingdrawings.com

www.drawtodraw.com

andfacultyexhibitionsduringthepast45years. www.drawingdrawings.com www.drawtodraw.com 17

WeAllDraw

Saturday,2pm,Concurrentworkshop:

Beingpresentinyourownbody,withpracticalexercisesinawarenessusing

gesturedrawings,withChristian&GroCecileMontarou

Thefollowingfivestepsofthissessionbuildoneeachother,

makingeasierfortheparticipanttomaster.

1.Relaxingthebody:discoverhiddentensionsinthebodyin

ordertoobtainarelaxedstateofmindbeforestartingtodraw.

2.Throughaseriesofdrawingsexercises,whosepurposeisto

feelthedrawingtoolasaprosthesisofthebody,theparticipant

willexperiencetheautonomyofdrawings’gesture,disconnected

forawhilefromthecontrolofthemind.

3.Throughworkingwithdrawinggesturesconnectedtoletters

andwords,theparticipantwillinvestigatetheforgotten

connectionbetweensound,gestureandvisualexpression.

4.Usingthesepreliminaryexperiencestotranslatedifferent

objects,byintegratingasuccessionofgesturessequencersto

renderasubjectvisually.

renderasubjectvisually.

ChristianMontarouisavisualartist,borninFranceandlivinginNorwayformanyyears.EducatedinBeauxArt

schoolsinLeMansandAngersfrom1967to1972,laterinNorwayatOsloFineArtsAcademy1972‐73.

Pedagogicalstudies1975‐76.Montarouhasfortyyears’teachingsexperience;teachingatOsloUniversityTeacher

TrainingCollege,PedagogicalCoachingofArtTeachersCandidates(todayOsloUniversityCollegeofApplied SciencesFacultyoftechnology,artandDesign),teacherattheUniversityofOsloFineArtAcademyandatthe OsloSchoolofArchitectureandDesign.ThelastfifteenyearshehasbeenworkingasanAssociateProfessorin theDepartmentofLandscapeArchitectureandSpatialPlanningatTheNorwegianUniversityofLifeSciencesin Ås,Norway.Forthetimebeing,heisresponsibleforateachingprogramindrawingthatiscoretotheLandscape

Architecturedegreeprogram.Montarouhas,for20yearshadayearlygrantfromtheNorwegianGovernmentfor

hisArtwork,whichisrepresentedinseveralofthemainArtinstitutionsinNorway.

GroCecilieMontarouwasborninNorway(1962).Shehasworkedasaphysiotherapistfornearly30yearsand

sheisSpecialistinPsychomotorPhysiotherapy,auniversity‐basedpostgraduatephysiotherapyeducationin Norway.Hermethodputsemphasisonthebodyandmindunity.Tensionsinthebody,whichheldovertime, havenegativeeffectsuponthebreath,balance,motorskillsandtheavailabilityoffeelings,thoughtsand

creativity.In20years,shehasdevelopedcoursesforphysicaltherapistsworkingwithadolescentshaving

psychosomaticandpsychiatricproblems.Furthermore,shehasgivenlecturesatdifferentCollegesand

UniversitiesinNorwayandholdpresentationsatseveralnational‐andinternationalcongresses.Asan

introductiontodrawing,theparticipantsgetthechancetodiscoverandreleasesomeoftheirhabittensions,

whiletheyaresittingandstanding.Thetargetistoobtainarelaxedandinspiredstateofmindbeforestartingthe

drawingprocess.

WeAllDraw

Saturday,2pm,Concurrentworkshop:

MazingtheFace–TracingtheGaze:Multi‐sensoryfacemapping/face

making,withPamelaLawton

ChuckClose,onportraiture:“There’saphysical,experientialaspecttoit—almostliketraversingalandscape.If youwerewalkingacrossareallandscape,youwouldcometoacreekandyou’dhavetogetacrossit,andthen you’dhavetowalkaroundstones..Ithinkofitasacreage—acreagethathappenstobeaface”.Matissesaid, “Lookatlifewiththeeyesofachild.” Inordertopaintarose,one“hastoatfirstforgetalltherosesthatwere everpaintedWhenIpaintaportraiteverytimeIextractfromthesamepersonadifferentbeing”.

Whatisaportrait?Whatisalikeness?Inthisworkshop,wewillforgemultiplepathwaysfromfacetopaper,

defyingourownconventionsandconceptionsofself‐portraitureandself‐image.Limitingoursenseofsight,we

willenhanceandutilizeperceptionsdiscoveredthroughtouchandsound,decodingourownfeaturesaswedraw

themasifforthefirsttime.Wewilluseexperimentalandtraditionalmaterialsandmethodsthatenhancethis

approachandbuildreliefmixed‐mediadrawingsthatembodyformthroughlineandchiaroscuro.From

self‐portraits,participantsmayworkcollaboratively,drawingportraitsfromasharedverbaldescription.

IpioneeredthesemethodsatTheMetropolitanMuseumofArt,along

IpioneeredthesemethodsatTheMetropolitanMuseumofArt,along

withRebeccaMcGinnisandDeborahLutz,in“SeeingThroughDrawing”,

aclassdevisedforadultswithlowornovision,whichispopularamong

sightedparticipantsaswell.Inteaching“StudioPracticesInAbstractArt”

atManhattanvilleCollege,Ialsoutiliseprocess‐oriented,

materials‐drivenengagementwithformstochallengeconventionsand

expectationsofwhatisagooddrawingandwhatisalikeness.

PamelaLawton’spaintingsanddrawingshavereflectedtheheightof theWorldTradeCenter,thecacophonyofTimesSquare,NYC,the fountainsofSeville,andtherhythmsoftheIndianOcean,allplaces whereshehascreatedartwithzeal.Inspiredbyherstudents,she sharesherpleinairart‐makingpracticeswiththem,includinginthe galleriesoftheMetropolitanMuseumofArt,onNewYorkstreets whileteachingforEugeneLangCollege,andinplacessuchasSriLanka, Afghanistan,andCorciano,Italy,thelatterwhileteachingforAmerican University.Shehasexhibitedlocallyandinternationally,including one‐personexhibitionsattheGaleriaNacionalinSanJose,CostaRica,

TheCondeNastBuilding,NY,180MaidenLane,NY,TheAtrium

Gallery,NY,andtheGaleriaIsabelIgnacioinSeville,Spain.Group

exhibitionsincludingherworkhavebeenfeaturedinPierogiGallery,

NYC,SideshowGallery,NYC,TiborDeNagyGallery,NYC,TheArtists’

Museum,Lodz,Poland,andtheEmmanuelHellerGallery,TelAviv.

LawtoniscurrentlyanArtist‐In‐Residence(AIR)atChashama,NYChas

beenanAIRattheWorldTradeCenterthroughtheLowerManhattan

CulturalCouncil,amongothers.ShereceivedaBAfromBennington

CollegeinvisualartsandanMFAinpaintingfromtheCityCollegeof

NewYorkandScuolaLorenzoDeMediciinFlorence,Italy.WhileafacultymemberatEugeneLangCollege,New

SchoolUniversity,shecreatedastudy‐abroadartprograminSriLanka.ShehasbeenteachingatThe

MetropolitanMuseumofArtformorethantenyears,whereshehelpedtocreateacourse“SeeingThrough

Drawing”.SheiscurrentlyonthefacultyofManhattanvilleCollegeinPurchase,NewYork.

Drawing”.SheiscurrentlyonthefacultyofManhattanvilleCollegeinPurchase,NewYork. 19

Saturday,2pm,Concurrentworkshop:

Ariverrunsthroughus,withJillJourneaux

WeAllDraw

Thisworkshopwillconsiderthepotentialofdrawingtoenhanceasenseofpersonalwell‐being.Byworkingwith

ideasandimagerydrawnfromtheriverThamesandthecityitnurturesandsupports,andrelatingtheseto

imagingthebodyandself,wewillusearangeofapproachestodrawingthatexplorenotionsofwellbeingand

wholeness.Wewilldrawonandattheriver’sedge,dependingonthetideandweather,inordertodevelop

imageryfromtheriverbyobservingsuchqualitiesasit’sspeedandmovement,thewaythelighthitsit,orhowit

offerstransportforpeopletocometogether,andenablesfoodandothervitalitemstobebroughttothecity

thussustainingacommunityofpeople.

Wewilltakethesedrawingsbackintothewarehousespaceandthenworkthroughaseriesofdirecteddrawings

thatareintendedtoenableustorealiseimagesofourselves(individuallyorcollectively),whichcanoperateas

symbolsormetaphorsforselfandforbody.Thesedrawingswillfocusonourconnectionstotheriver,theearth

beneathus,thesky,thecity,natureorthewind,therainorthesun–dependingontheweatherandwhatis

happeningontheriver.Themesmayincludeimaginingtheriveras:energiser,cleanser,lightandilluminator,

breatheandvoice,bringerofnourishmentandsafety.

Whenwehavegatheredenoughmaterialwewillworkthesedrawingsintolargerimagesthatbringtogetherthe

experiences,feelingsandideasthatwehaveexaminedthroughourdrawings,withtheaimofachievingsome

synthesisofimagery.

synthesisofimagery.
synthesisofimagery.

JillJourneauxisProfessorofFineArtEducationandResearchDegreeLeaderatCoventrySchoolofArt&Design.

Herinterestisintherepresentationofphysical,emotionalandpsychologicalrealitiesthroughautobiographical

narrative:thefemalebodyasanexperienceofinhabitation,thecraftsandartifactsofdomesticityascontentand

processforfineartpractice,andnotionsofbeauty.Sherealizesherpracticethroughdrawingandstitching,

examiningthespacebetweenartandcraft,andtherelationshipsbetweenthedecorativeandthedomestic.Her

researchconsiderstheevolvingnatureofthefineartcurriculum,theteachingofcreativityandtheshiftingplace

offineartwithintheacademy.HerworkisheldinpublicandprivatecollectionsintheUK,USAandEurope.

WeAllDraw

Saturday,2pm*,Concurrentworkshop:

AnimatingtheBargehouse,withSaraSchneckloth

Acollaborative,hand‐drawnanimationprojecttoactivatethearchitecture,history,andspatialpotentialofthe 2015LondonTtDsymposiumsite. Inthisworkshop,wewillworkwithinaspecificareaintheBargehouse, drawingimpressionsof,andimaginedpossibilitiesfor,thearchitecturalspace. Wewillcreatemultipledrawings thatcanbeshowninanimatedsequence,rangingfromsimple(cracksspreading,animalsmigrating,shadows movingacrossthewall)tocomplex(narrativehistoriesunfolding,spacesbeingradicallyrestructured). All drawingswillhavethecommonthreadofrespondingto,andengagingwith,theuniquefeaturesthat characterizethespace. Allfinisheddrawingswillbescannedinsequence,animated,andthenprojecteddirectly backontopofthesourcesurface,overlayingthearchitecture. Theresultwillbearunninghand‐drawnanimation thatactivatesthespaceasinterpretedbyallwhohavedrawnit.

*Thisprocesswillcontinuethroughouttheeventandwillalsobeavailableasadrop‐insessionthroughout

Saturdayafternoon.

Saturdayafternoon.

SaraSchnecklothhasshowndrawingsinoversixtyexhibitionsthroughouttheUS,SouthAfrica,andFrance,and heressaysondrawingandembodimenthaveappearedintheJournalofVisualCulture,VisualCommunications Quarterly,andtheManifestInternationalDrawingAnnual. SheholdsanMFAfromtheUniversityofWisconsin‐ Madison,andhaslivedandworkedinIowa,Chicago,Seattle,SanFrancisco,CapeTown,andColumbia,SC. An AssociateProfessorintheSchoolofVisualArtandDesignattheUniversityofSouthCarolina,sheispresently investigatingtheintersectionsofbiology,geology,andarchitectureasimaginedthroughdrawing.

Saturday,2pm,Concurrentworkshop:

RulesofDrawing:MakingandBreaking,

WeAllDraw

withTaniaKovats&UALMAstudents

Thisworkshoplooksathowwemightexaminethewaysweapproachmakingadrawing,lookingattheruleswe

applyandtheruleswebreak.

Drawingisaparticularlyopenendedformofcreativeoutputandonethatisinafluidstateofdefinition,yetthe

drawingswemakefollowrules,explicitlyorcovertly.

Weallhaveasetofrulesthatweapplywhenwemakeadrawing.Thisworkshopwillexplorethoserulesto

createacollaborativegroupdrawing.

Nametenrulesofdrawing.

Theydon’thavetoberulesthatwouldapplytoanyoneelsebutcanreflectonyourownpractice.

Makeadrawingthatbreaksatleastoneofyourrules.

Takearulebelongingtosomeoneelseandusesomeoneelse’srulestomakeadrawing.

Placethesedrawingstogether.Selectsomerulesandapplythemtoagroupdrawing.

TaniaKovatsstudiedatNewcastlePolytechnicbeforecompletingherMAattheRoyalCollegeofArtin1990.She

exhibitedatBarclaysYoungContemporariesattheSerpentineGalleryin1991.Herworkhasfocusedondrawing

andmappinglandscapesaswellasdescribingorusinggeologicalprocessesinthemakingofbothsculptureand drawings. TaniawasawardedtheHenryMooreDrawingFellowship,UWE,Bristolin2004–05andwasVisiting

FellowattheSchoolofArchaeology,OxfordUniversity2006.Her‘Tree’wasselectedfromnineothershortlisted

artistsintheDarwin’sCanopyprojectattheNaturalHistoryMuseumandwascommissionedtocelebrate

Darwin’sbicentenaryin2009.

TheMADrawingCourseatWimbledonhasacrossdisciplinaryapproachtodrawing.Thecoursehasatitsheart

theresearchprogrammeofindividualstudents.Wehavestudentsfromarangeofbackgroundsincluding

scientists,illustrators,educators,digitalgamevisualizers,designers,andanthropologists,workingalongside

artists.Allstudentsshareafocustoexploretheirpracticeanddeveloptheirthinkingthroughdrawing.

http://www.arts.ac.uk/wimbledon/courses/postgraduate/ma‐drawing/

WeAllDraw

Saturday,2pm,Concurrentworkshop:

EmbodiedAnatomyClass,withEmilySheehan

ThisworkshopwillfocusonconnectingatraditionalAnatomy‐basedapproachtofiguredrawing(basedon

GeorgeB.Bridgman’sConstructiveAnatomyandDr.PaulRicher’sArtisticAnatomy)toaprogressionof

perceptualdrawingexercisesthatengagespecifickinestheticsensoryexperiencesthatallowdrawingstudentsto

developanembodiedunderstandingofskeletalandmuscularanatomyoftheheadandface.

Thelessonswillbesupportedusingtraditionalfiguredrawingmethods:lookingatthehumanformusing anatomy‐basedanalysis(forthismethodtheartistidentifiessubcutaneousskeletal,muscular,andtendenous landmarksthatarevisibleonthebodyandanalyzestheirfunctioninrelationtotheirpositioninaparticularpose toprovidealogicaroundwhichtheartistcanrepresenttheform).WhereIexpandthetechniquesisinadjusting andcontrollingtheimage,sothattheartist’sandtheviewer’sperceptionandexperiencetravelthroughthe imagefrom“Insideout”and“Outsidein”,a constructIusetohelpstudentsdevelopadependablerelianceon theirownbodilyperceptionsastheydraw.InsideOutperceptionisself‐revelatory‐‐startingwithaninternal insight,emotion,orbeliefandrepresentingasituationcertaintoconnectthatinternalstartingpointwith recognisableenvironmentalorexperientialtriggersthatresonatepersonally. Conversely,OutsideInperception involvespurposelyshiftingone’ssenses(obscuringvision,changingbalance,creatingphysicaldissonance)inorder toencounterfamiliarexperiencefromuncomfortableor“outside”perspectives.Thisexaggeratedsensory environmentphysicallyacknowledgestheunwieldytaskofrepresentingpresentexperienceasimage.

EmilySheehanisAssistantProfessorofFineArtatIndianaUniversitySoutheast.EmilyreceivedherM.F.Ain VisualStudies,withaspecialisationinDrawingandSculpturefromtheMinneapolisCollegeofArtandDesign

(MCAD)in2008.Emily’sartisticresearch/practiceutilisesperceptualdrawing(drawingfromobservationina

multi‐sensoryway)toexplorethewayamarksleftonapagebecomeevidenceoflivedexperience.Emilyuses bothtraditionalandnontraditionaldrawingmaterials,andtechniques,tocreateworksthatprovokebothherself andtheviewertolingerinthehumanspacebetweenencounterandrecountingwherewemakeourworld personal. Emily’spiecesincludedareincludedtheprivatecollectionsofTheWeismannartMuseumandthe

TargetCorporation.In2014,Emilywasoneofthreeartistsselectedfromanationalpooltoexhibitherworkat

TheDrawingShow(ashowcaseofcontemporarydrawingthattookplaceattheMultiplesArtFestivalof ContemporaryArtandCraftinChicago. In2015Emily’sdrawingswereselectedforinclusioninthe6th annual DrawingDiscourse:exhibitionofcontemporarydrawingatUniversityofSouthCarolinaAshvilleaswellasthe35th editionofTheBradleyInternationalExhibitionofDrawingsandPrintsatBradleyUniversityinPeoria,IL. Shehas

hadSoloexhibitionsattheBarrGalleryatIndianaUniversitySoutheast(2012),theMcGrathGalleryatBellarmine

University,LouisvilleKY(2012),in2013EmilyreceivedsponsorshipfromtheGustavusArtistseriesandthe

JohnsonfundforasoloexhibitionandvisitingartistengagementsintheSchaefferGalleryatGustavusAdolphus

College,St.Peter,MNandIn2014,Louisville’sprestigiousGreenBuildingGallerypresentedasoloexhibitionof

herwork.

emilysheehanstudiosite.com

WeAllDraw

Saturday,2pm,Concurrentworkshop:

DrawingintheFourthSpatialDimension,withGemmaAndersonandAlessio

Corti

Whatisthefourthdimensionalspace?

Howcanthefourthdimensionalspaceexistwhenrealityisthree‐dimensional?

Can4Dspaceberepresentedinathree‐dimensionalrealityAndinatwo‐dimensionalrealityCanitbe

drawn?

WiththesequestionsasastartingpointAndersonandCortiwillguideparticipantsthroughdrawinginthefourth dimensionalspacebyanalogyandintuition.Integratingthekeyconceptof‘dimensionalpromotion’whichhad beenusefulintheircollaborativeresearchthroughimagesfromourowncollaborativeresearchwork.Thegoal

forthisworkshopsis:visualizationanddrawingofobjectsin4dimensions.Thepointisnottomakebeautiful

drawingsbuttomakedrawingsthatcreateimagesinthemind.

GemmaAndersonisLecturerof DrawingandPhDcandidateat

FalmouthUniversity.In2014,

AndersonfoundedaDrawing Researchproject‘TheCornwall MorphologyandDrawing.After graduatedfromtheRoyalCollegeof

Artin2007,Andersonhassincebeen

ArtistinResidenceatImperialCollege

MathematicsDepartmentand

sustainedalongtermcollaboration

withtheNaturalHistoryMuseum

London.Recentexhibitionsinclude

FacingHistory,VictoriaandAlbert

Museum,CrookedRain,CrookedRain,

CentreforContemporaryArt(Derry),

Isomorphology,GalerieThore

Krietmeyer,Berlin,Portraits;Patients

andPsychiatristsTheFreudMuseum,LondonandSKIN,WellcomeCollection,London.Andersonhaswonseveral

awards,includingaLeverhulmeArtistinResidenceAward,aresidencyatAcmeStudiosFireStationinLondon,an

EngineeringandPhysicalScienceResearchCouncilawardandaWellcomeTrustArtsAward.Anderson’sworkis

heldinthecollectionoftheV&AMuseum,TheWellcomeTrust,TheNaturalHistoryMuseum,TheD’arcy

ThompsonZoologicalMuseum,TheArtsCouncilofNorthernIrelandandTheRoyalCollegeofArt.

www.gemma.anderson.co.uk www.cmadc.uk

ProfessorAlessioCortiholdsaChairinPureMathematicsatImperialCollegeLondon.Hismainareasofinterest

lieinalgebraicgeometry,particularlyhigherdimensionalbirationalgeometry,minimalmodeltheory,Fano

varieties.

WeAllDraw

Saturday,4pm,Drop‐inworkshop:

MapDrawing,withRobinWhitmore

200yearsago,theSouthbankwasaverydifferentplace.Whatwouldithavelookedlike?Wholivedhere?What

happenedhere?JoinRobinWhitmoretomakeagiantmapdrawingofLambethMarsh,theareasurroundingthe

Bargehouse200yearsago.Wewillbeusingcopiesofoldphotographs,paintings,drawingsandmapstoattempt

torecreateadetaileddrawnreconstructionoftheneighbourhood.

ThroughouttheweekRobinwillbeinvitingmembersofthepublictocontributetheirownanecdotesandimages

toaparallelmaptellingthemorerecenthistoryofLambethMarsh.Whatgoesonherenow?Whatsightshave

youseen?Whoarethenewresidents?Whatarepeoples’livingmemoriesofthisarea?Whatconnectionsare

therewiththepast?

therewiththepast?

RobinWhitmoreisinterestedinmakinglocalhistoryaccessibleandexcitingthroughthecreationofdetailedhand

drawnmapswhichrevealsocialpatternsofchange.HislatestmapshavebeengeneratedattwoKennington

librarieswithinputfromthelocalcommunities.ThroughouttheFestivalhewillbeshowingoneintricatemap

whichillustrateshowthemoderndaynatureoftheiconicLGBTpub,theRoyalVauxhallTavern,hasbeen

informedbythehistoryofitsenvironment.

Robinisprojectleaderfor19Plus,anartsprograminCambridgeHouseCamberwell,forartistsandlearning

diverseadults.HeisalsocurrentlyworkingwiththeartscollectiveDuckieona5yearprojectinwethostelsfor

homelesspeopleinVauxhall.

WeAllDraw

Saturday,4pm,Drop‐inworkshop:

ExploringtheBargehousethroughdrawingandstitch,withRosieJamesand

MarciaTeusink

Thisdrop‐inworkshopwillencourageparticipantstoengagewithBargehouseanditsimmediateareathrough

observationaldrawing,historicaldocumentsandacommunalstitchedtextiledrawing.Wewillinvestigateways

thatobservationaldrawinghelpsusengagemoreintimatelywithplacebycomingintothepresent,slowingdown

ourperceptionandhelpingushaveamoreembodiedexperienceofwhereweare.Lookingatoldphotographs

andthinkingaboutthehistoryofaplaceaddsanotherlayertoourexperience:wearenotjustpayingattention

toourpersonalexperienceinthismoment,butallowingforamoreexpansiveconceptionoftime,providing

opportunitiesformorelayereddrawings.Last,turningourdrawingsintostitchisatransformativestepthatuses

ourhandsandmindsinadifferentway,allowingforvisualandtactileinnovation,conversationandcollaboration.

RosieandMarciaarebasingthissessiononworkshopstheyhavebeenleadinginEastKentaspartofaproject

calledDMAGJoinedupArts&Museums,whichbroughttogetherheritagesites,artistsandcommunitygroupsto

investigatetheimpactofWWIontheregion.

RosieJamesstudiedtextilesatUniversityofCreativeartsinFarnham,SurreyspecialisinginPrintedTextiles.She

followedthiswithanMAinFineArtTextilesatGoldsmithsCollegeLondon.DuringherMAshebegantoexplore

theuseoffabrics,threads,clothsandneedlesastoolsandmaterialsforfineartandbecameinterestedin

interpretingexistingheavy‐weightcontemporaryartinadelicatetextileform.Thisledhertothinkofdrawingas

atextilepractice.Rosieisinterestedinhowdrawingwithaneedlecanbecomeabondinggroupactivitywhen

donebyhand.Shelikestocomparetheneedleandthepencil.Shenowmakesdrawingsusingasewingmachine

andsomehandstitchandencouragesotherstodothesamebyrunningworkshopsalloverthecountryand

abroad.HerworkisexhibitedinHotelsandMuseumsinternationallyandshehaspublishedabookcalledStitch

DrawpublishedbyBatsfordPublications.

MarciaTeusinkhasbeenteachingdrawinginschools,museums,churches,windmills,cemeteries,fieldsand

forestsfortwodecades.ShehastaughtinsuchinstitutionsastheBritishMuseum,theBrooklynMuseum,Pratt

InstituteofArt&Design,theLowerEastSidePrintshop,theZurichKunsthaus,amongmanyothers.Marciaholds

anMFAinVisualArtfromtheCityUniversityofNewYork,QueensCollege,andanMAinMuseum&Gallery

EducationattheInstituteofEducation,London.Shewroteherthesisondrawinginmuseumsandgalleries,

exploringdrawingasameansofengagingwithmuseumcollections.Marciaorganisesindependentcoursesin

museumsasDrawLondon,andshefrequentlyleadsworkshopsinheritagesitesinKentwithtextileartistRosie

JamesasDraw:Stitch.

WeAllDraw

Saturday,4pm,Drop‐inworkshop:

HapticDrawing:TheTactileSelf‐Portrait,withMarnaShopoff

JoyceCaryhassaidthat“artistsseeanddrawaccordingtotheirpersonalitytodrawisameanstoknow,to

expressarealitymorealivethantheonewenormallyexperience.”

Drawingisamodeofdiscovery. Itgivesadeeperinsighttoone’sownperceptions,whilealsocreatingan opportunitytoexplore,playandexperiencetheworldinanewway. Thisworkshopwillexplorethesynchronicity betweenthesenses,translatingperceivedexperiencesviaamark,whilecreatingadirectlineofcommunication fromtouchtopaper.

Movingawayfromrepresentationandtowardsafeelingorsensation,participantswillusehapticdrawing techniquestoexpresstheirrealitybymeansoftouch. Participantswillclosetheireyes,andallowtheirsensesto interpretwhattheyarefeeling. Thesenseoftouchbecomestheirvision.

Tactileinformationwillbeconvertedintovisualinformation. Witheyesclosed,theparticipantswilltouch,feel andexploretheirface,hairandneckwithonehandwhilerespondingwithmarksmadebytheotheronpaper.

Theparticipantswithexperience3Dimentionaldrawing,bymeansoffeelingdepthandthephysicalityoftheir

faces,thetextureoftheirskinandthesubtletiesoftheirhair. Insteadofinvestigatingsomethingthatis 2‐Dimensional,whatoneisseeing,theparticipantswillinterpret3‐Dimensionality,whattheyarefeeling. This

exercisecreatesadeeperunderstandingof3dimensionality,texture,spaceandpersonalinterpretation,using

one’sownsenses,paper,pencilsandpens.

Participantswillemergewithagreatersenseofspatialpossibilities,explorenewwaystomakeamark,and broadentheirsenseofdrawing possibilitiesthroughintuitiveinvestigationsandcuriosity.

Projects&ideasborrowedfrom:DrawingProjects;anexplorationofthelanguageofdrawing,byMickMaslen

andJackSouthern.

MarnaShopoffisanartistand educatorwithanemphasison abstractpaintingandintuitive drawing. SheholdsaBFAinpainting withanarthistoryminorandanMFA inpaintinganddrawingfromHerron SchoolofArt&Design,Indianapolis, IN. Interestedintheconceptsof abstractionandspatialdesign,she explorestheideaof placeidentity withinthebuiltenvironment. Her workexplorestheideaofperception asafunctionofhumanexperience, placeandpersonalmemory. Shehas ledpaneldiscussionsonabstract learningandhapticdrawingatthe

2015FATEConferenceandatTaliesin

(2014). Shopoffisasanadjunct professorinFoundationsandDrawing atheralmamater.

(2014). Shopoffisasanadjunct professorinFoundationsandDrawing atheralmamater. marnashopoff.com ​ 27

WeAllDraw

Saturday,4pm,Drop‐inworkshop:

ReflectionIn&OnNetworkDrawing,withClareScanlon&PaulGrivell

NetworkDrawingisaplayful,groupdrawinggamewithspecific(mutable)rulesofengagement.Itisaninclusive

practiceinthatitdoesnotrequireanyspecialexpertiseindrawing.

Inthelightofpost‐contemporarydiscourseon‘networkedcreativity’,ourresearchintothispracticehasbeen

broadlyframedbythe“4E’s”theories(enactivist,embodied,embeddedandextended)theoriesofcognitionand

learning.Thegrowingbodyofresearchemergingacrossthedisciplinesofsocialsciences,neuropsychologyand

education,challengesdualistconceptionsoflearning,astakingplaceinthemindofthelearner,offeringinsteada

progressivemodelwhichre‐situateslearningandcognitionintheinteractionoftheindividualwithandinthe

environment(socialandspatial),throughtheirbodyandbyextensiontheuseoftools.Assuch,drawing,

particularlytheactivityofdrawingwithothers,canprovideanidealopportunityforindividualstoengagein

dialogueandreflectionontheirown(meta‐)learningprocesses.Networkdrawingoffersastructuredframework

inwhichtofocusthereflectionprocessinandoncollaborativeenterprise.

ThroughourpracticetodatewehaveestablishedthattheactivityofNetworkDrawinghaspossibleapplications

inarangeoffields,includingthepedagogic(withstudentsandstaffacrosssubjectareas),thetherapeutic(in

care/socialworkwithcommunitygroupsanddementiapatients),andincreativepractices(withartists,

designers,craftspeopleandprogrammers).

ClaireScanlonandPaulGrivellare

colleaguesintheCreativeIndustry

departmentofNorthbrookCollege,Sussex

wheretheyteachacrosstheoryand

practiceonFineArt,Mediaand

Photographyprogrammes.

Since2007theyhavecollaboratedas

artists,researchersandwriters,groundedin

butnotexclusivetothecontextof

education.Claireisinterestedinhowthe

subjectiveandexperientialnatureof

‘aesthetic’practices,bothinterrogateand

produceknowledge.Paulisinterestedin

theroleofcreativityineducationandthe

roleofeducationincreativity.Theyboth

haveaninterestinthebricolageasa

creativeandqualitativeresearch

methodologyandsociallyengagedpractice.

methodologyandsociallyengagedpractice.

Saturday,4pm,Drop‐inworkshop:

MemoryDrawing,withMichelleSalamon

WeAllDraw

Thisworkshopwillexplorehowmark‐makingcanbeusedtoarchive,storeandretrieveinformation,toassistin

thebattleagainstthetransienceofmemory.Participantswillusedrawingbothasacapturemechanismand

storagedevicewithaviewtoassemblingcapturedimagesintoacommunalnarrativespacere‐constructedfrom

theirindividualmemories.Intermsof“whathappens?”wewilllookathowdrawingcanbeusedtorecord,

conceptualiseandcommunicatespaceandcontentandtoaddress“whatdowelearn?”askwhethertranslating

whatweseeintomarkshelpsembedthememoryofalocation.Thecollectiveoutcomewillformthebasisfor

furtherresearchintohowmarkmakingisusedtoarchive,storeandretrieveinformationandsubsequentlyto

embedmemories.

Theseexperimentswillbeaimedatdevelopingapracticeofcreativeimaginationasaforcethatcanleadontoan

approachemployedacrossartseducationenablingstudentstodeveloptechniquestoachieve"higherfaculties"

ofartintermsofmemory,imagination,intelligence,andfeeling.

ofartintermsofmemory,imagination,intelligence,andfeeling.

MichelleSalamonholdsanMAinanimationfromtheRoyalCollegeofArtandisafreelanceanimatorand AssociateLecturerinMovingImageontheBAGraphicDesigncourseatCentralSaintMartinsCollegeofArtand Design.Herresearchproject“DrawingLaboratory”atCSMexploresrelationshipsbetweenthephysicalactof

drawingandthecognitiveactofmemory.In1996MichelledirectedCRIMPLENE,afilmcommissionedbyArts

council/Channel4aspartoftheAnimatescheme,andlaterMOSESANDTHEPASSOVERMEAL,commissionedby

S4CaspartoftheirAnimatedWorldFaithsseries.ShehastaughtdrawingandanimationoncoursesatLondon

CollegesincludingJohnCass,ArtMediaandDesignDepartmentofLondonMetropolitanUniversityandUAL.

Michelle’srecentpaper“DevelopingaStrategyforAssessingCreativity:theCreativeSpiral”waspublishedinthe

journalInvestigationsinuniversityteachingandlearning,andherpaperpaper“MemoryandAnimation”was

presentedatAnimatedRealitiesaconferenceatEdinburghUniversitySchoolofArt.Michelleregularlyposts

sketchestoUrbanSketchersandUrbanSketchersLondonandtoherownblogMemoryBox,exploringthe

extendedexperiencesofsketchinginpublicplaces.

michelle‐memorybox.blogspot.co.uk

Saturday,4pm,Drop‐inworkshop:

VerbalDrawing,withJoannaNeil

WeAllDraw

Exploringexperiencesoflooking,seeinganddescribing:Howcanweusewordstocreateandhelpusunderstand,

thinkaboutandpreparefordrawing?

Lookingatanunfamiliarobjectyouwillbeaskedtocreaterichdescriptionsofyourobservationsasanaudio

recording.Youwillbeencouragedtothinkaboutyourrecordingasa‘verbaldrawing’ora‘preliminarysketch’.

Youwilluseyourwords,pauses,corrections,repetitionsandstumblesasalinethattracestheformsanddetails

oftheobject.Therecordingyoumakeisadrawinginitsownrightbutalsoservesasapreparatorysketchthat

willbere‐listenedtoforfurtherdrawingsusingmoretraditionalmaterials.Theverbaldrawingrecordsthe

processoflooking,thinkingandsensemakingtobeexperiencedagain.

Youareinvitedtodiscussyourexperiencesandcontributetoadigitalauto‐ethnographicPhDresearchproject.

Thereisalsotheopportunitytoparticipateinaco‐createdsoundpieceforexhibition.

JoannaNeiliscurrentlyworkingonherPhDattheUniversityofGlasgow.SheisbasedintheschoolofEducation

wheresheisbringingtogetherherresearchinterests:Arts,EducationandTechnology.ThePhDexploresthemes

aroundconversationalreflectionandhowtechnologycansupportandenhancecreativeandreflectiveprocesses.

Herbackgroundandfirstdegreeisinfineart(painting)withadevelopedspecialismintofinearttextileswithfree

machinedrawingbeinganimportantpartofherpractice.Arecurringthemethroughherworkhasbeenan

interestinthe‘making’process,theprocessofmakingwork,sometimestheworkbeingaboutprocessandthe

processbeingvisibleinthework.Thiswasfullyexploredinarecentdigitalauto‐ethnographyresearchproject,

whichledhertoexamineherapproachestodrawinginnewways.

JoannaistheprogrammeleaderfortheFdAandBA(Hons)topupprogrammesintextiles,fashion,interiordesign

andlecturerincreativedisciplinesatUniversityCentreBlackburnCollege.Herresearchblog:

https://feltlikeit.wordpress.com/ Anexampleofadigitalauto‐ethnographicresearchprojecthere:

‘DescriptionofMazeCoral’Verbaldrawing3.00minutesfromTheHunterianMuseumResidency:

WeAllDraw

Saturday,4pm,Drop‐inworkshop:

TheContingentSpace,withThomasAlbrecht

Iaminterestedinthecontingentnatureofmarkuponasurfacethatisfundamentalindrawing.Iproposetowork

withagroup,orparticipantscomingandgoing,inthemakingofachalkboarddrawingthatconstantlychangesas

participantscreateinadynamicandresponsiveway.Theephemeralwaymarksexistonachalkboard,aswellas

therelationshipofthesurfaceandmaterialtoeducationalenvironmentsworldwide,providesawonderfulway

forparticipantstoviewtheactofdrawingasafluidresponsesystem.Workingwithtemporalmaterialona

surfacethatbearsthetraceofchangeandrecordsadditiveandsubtractivemarkings,Iwillinviteparticipantsto

contemplatedrawingasanactionofthemindandbodyworkinginconcert,involvingbothplayandconsidered

response.

ThomasAlbrecht’sliveartprojects

haveexploredritualandlanguagein

publicspaces,galleries,andmuseums,

proddingculturalbeliefsandindividual

doubts.Currentinterestsinvolve

durationandelementsofAbsurdist

Theatre,layingbarecontingencyin

humanconstructionsandslippage

betweentruthandfiction.Albrechthas

performedthroughouttheUnited

StatesandinEurope,notablyatGrace

ExhibitionSpace,NewYork;

DefibrillatorPerformanceArtGallery,

Chicago;PanoplyPerformance

Laboratory,NewYork;Dimanche

RougeParis;andduringfestivalssuch

astheBrooklynInternational

PerformingArtsFestival,Monthof

PerformanceArtBerlin,TheSphinx

ReturnscuratedbyWhitneyV.Hunter

atGraceExhibitionSpace,and

PerformatorioIVintheDominican

Republic.

PerformatorioIVintheDominican Republic.

HereceivedhisBFAfromtheRhodeIslandSchoolofDesign,aMasterofArtsinReligionfromYaleUniversity,and

hisMFAfromtheUniversityofWashingtoninSeattle.HeservesasAssociate

ProfessorintheArtDepartmentattheStateUniversityofNewYorkatNewPaltz.Hehaslecturedontopics

rangingfromteachingpedagogy,ritualandperformance,andcontemporaryvisualpracticesinvenuessuchas

theSchooloftheArtInstituteofChicago;SchoolofVisualArts,NewYork;ColumbiaUniversity;theCollegeArt

Association,NewYork;theQueensMuseum,NewYork;andtheInternationalSocietyforReligion,Literatureand

CultureinStirling,Scotland.HeservedastheMenilScholarattheYaleInstituteofSacredMusic,wasselectedas

aFacultyFellowfortheIllinoisProgramforResearchintheHumanities,andplaysaleadingroleinThinkTank:

IntegrativeTeachingInternational,basedintheUnitedStates.

Saturday,4pm,Drop‐inworkshop:

DrawingEnergy,withFloraBowden

WeAllDraw

TheDrawingEnergyprojectwasdevelopedbytheRoyalCollegeofArt,aspartoftheSusLabNWEEuropean energyresearchproject.Itexploredpeople’sperceptionsofenergybyaskingthemtowrite,draworillustrate

theirthoughtsandreactionstothequestion‘whatdoesenergylooklike?’Over180membersofthepublic

participatedintheprojectthroughworkshopsandexhibitionsandproducedanarrayofdifferentvisualisationsof

energy.

Wearecontinuingtodevelopthemethodofvisualisingtheinvisiblethroughdrawing,togainfurtherinsightsinto

people’sunderstandingandimpressionsoftheirenvironments.Throughthissessionwewillinvitepeopleto

participateintheresearchandcreatetheirowndrawingsoftheinvisible.

FloraBowdenisanMPhilPrintmakingcandidateattheRoyalCollegeofArt.From2013‐15shewasaResearch

AssociateforSustainRCAandaresearcherontheSusLabNWEproject,whereshefocusedontheuseofdrawing

tounderstandpeople’sperceptionsofintangibleenvironmentalconditions.

WeAllDraw

Saturday,4pm,Drop‐inworkshop:

WeAllDraw

Saturday,4pm,Drop‐inworkshop:

SketchbookCirclesmeeting,withAngieBrew&GaganSingh

AfterayearofdrawingtogetherandsharingsketchbooksaroundtheworldtheDrawingCirclesare(vexcitingly!) meetingatWeAllDraw. Manyofthebooksarecomingtoo.GaganSinghisflyinginfromNewDelhi.Thisdropin sessionisforexistingCirclemembersandthoseinterestedintheproject.YoucanjoinanewCircle,orcome

alongtodiscusstheinsandoutsoftheproject.EachCirclehasbetween3and12drawers,whoeachdrawina

sketchbookfor1month. Thebooksthencirculateamongthemembers,usingdrawingasavisualformof conversation.Thebooksarephysical,sentbysnailorairmail,orbyhandifalocalCircle.

conversation.Thebooksarephysical,sentbysnailorairmail,orbyhandifalocalCircle. 34

WeAllDraw

Sunday,10.30amMasterclass:

DrawingasanActofGenerosity,withKimSloane

Allgooddrawingis,atheart,anactofprofoundgenerosity.Itisagifttous,andispresentedtousasallgiftsare,

orshouldbe.Drawingisevidenceofthought,itisevidenceofcaring,ofempathy,andunderstanding,atitsbest,

itisevidenceoflove.

Howisthatthisevidenceisexpressedindrawing,howisitwecanfeelthissopowerfullywhenweareinits

presence?Thisworkshopwillproposethatdesireisexpressedintheachievementofafullnessofform.Form

shouldbepresentedassomethingwecanpossess.Wearemovedwhenwefeelthispresence,thiscaring,this

needtounderstandandshare.

Wewillengageinexercisestolearnhowtoseeandcreateform;howtomaximizeavolumetricpresenceonthe

page.Themethodologyrequiresnotalentorpreviousexperienceandunderscorestheideathatwecanalldraw!

KimSloaneistheChairofFoundationatPratt

KimSloaneistheChairofFoundationatPratt Institutewherehehastaughtfor overfifteen years.Heisapracticingartistwhohasshown widelyandtwicewondrawingsawardsatthe NationalAcademyofDesignMuseum. Mr. Sloanehaspresented ondrawingandpedagogy numeroustimesatFATE:FoundationsinArt, Theory,andEducationconferences,atthe "ThinkingthroughDrawingConferencein

Octoberof2013heldatColumbiaUniversityand

theMetropolitanMuseum,aswellasatRemix:A symposiumonorganizedbytheArtandArt EducationprogramatTeachersCollege, ColumbiaUniversity,2014. Heisagraduateof YaleCollegeandtheParsonsSchoolofDesign.

WeAllDraw

Sunday12:30,LunchtimeFilm:

“VisualLiteracy:RethinkingtheRoleofArtinEducation”

DirectedbyLisaMolomotandproducedbyCyraLevensonattheYaleCenterforBritishArt.Thisfilmfocuseson

thechallengesofteachingwritingandtheroleartcanplayinabroaderdefinitionofliteracy.Followingaunique

partnershipbetweenthecenterandlocalschools,thefilmalsoillustratesthewayamuseumcanbecomean

extensionoftheclassroom.

partnershipbetweenthecenterandlocalschools,thefilmalsoillustratesthewayamuseumcanbecomean extensionoftheclassroom. 36

WeAllDraw

Sunday,2pm,Concurrentworkshop:

BOTH/ANDDRAWING:Howmightdrawingtogetherhelpusexploreaspects

ofanxietyanddepressiondifferently?

withAngelaRogers&DuncanBullen

Thereisagroupofpeoplewhohavelittleaccesstodrawingclassesanddrawingevents,thesearepeoplewith

long‐termmentalhealthproblemswhoarenotcurrentlyhospitalised.Theyarelivinginthecommunitybutlead

sociallyconstrainedlivesandfeelunabletoattendlocalartclasses.Theworkshophasitsbeginningsinthe

experienceofteachingart,inparticulardrawing,togroupsofpeoplesufferingfromlong‐termmentalhealth

problems.Problemsthatmakeitdifficulttolivewhatwemightthinkofasordinarylives–e.g.goingouttowork,

cookingandshopping,travellingonpublictransportetc.

Howmightdrawinghelpusthinkaboutanxietyanddepressiondifferently?Thestruggletotolerateambiguityisa

commonaspectofdepressionandanxiety.Blackandwhitethinkingandthepolarisingemotionsthataccompany

itcanbeatrap,aviewpointthatexcludeswiderpossibilitiesorgreateroptionswhentryingtomakesenseoflife.

Therearepowerfulfeelingsthatsomethingcannotbebothrightandwrong,bothgoodandbad.Collaborative

drawingexerciseswhichencourageambiguitywilloffernewwaystoinvestigatetheseideas.

AngelaRogersworkswithdrawinganddialogueintheirwidestsensesoftenwithstrangers.Shehasshownwork

andhadresidenciesinUK,USAandEurope.ShehasbeenaresearcherinresidenceattheCentreforDrawing,

WimbledonCollegeofArtandaResearchFellowattheCreativityCentre,UniversityofBrighton.Sheholdsa

Practice‐ledPhDinvestigatingdrawingasameansofsocialinteraction.ShecurrentlyteachesontheFineArtMA

attheOpenCollegeoftheArts.Herresearchisavailableathttps://independent.academia.edu/AngelaRogers

DuncanBullenisanartist,academicandwriter,whodrawsasawayofslowingdownboththeactivityofmaking andof visualacuity.Hehasaparticularinterestintheinter‐relationshipbetweenthepracticeofdrawingandthe practiceofmindfulnessmeditation.DuncanisProgrammeLeaderforFineArt/Photography,MovingImageand SoundattheUniversityofBrighton.HestudiedPrintmakingattheRoyalCollegeofArtandwassubsequentlya

recipientofaRomeScholarshipspending1991‐‘92attheAccademiaBritannicaRoma.Hiswritingincludesthe

chapterDrawingColour:BetweentheLineandtheFieldinTheMobilityoftheLine,(2013)publishedby

BirkhauserVerlag.

WeAllDraw

Sunday,2pm,Concurrentworkshop:

Exploringandevaluatingdrawinginthefieldofmedicine:

Howisdrawingabletosupportmedicaleducationandlearning?

withJennyWright&DimiPanagiotopoulos

Thisworkshopintroducesparticipantstotheworldofdrawinginthemedicalfield,lookingatdifferent

approachesofanalysingempiricaldatafromdentalandmedicalstudents,andwillprovideapracticalsettingfor

exploringtheevaluationofadrawingactivitythatislinkedtobothPhDprojects.Participantswillbeexpectedto

takeanactivepartduringthesession.Theywillbeinvitedtomakeasseriesofdrawingsthatwillbeevaluated

usingdifferentdrawingcriteria.Initiallytheywilldrawfromimagesofthehumanheart,thentheywillmake

drawingsfromanatomicalheartmodels,whichtheywillbeencouragedtoexplorethroughtouch.Discussion

arounddrawingoutcomeswillbecentredonthedifferentrubricsdesignedbyJennyandDimi.Jennyisexploring

thelinksbetweendrawingandthesurgery,lookingatsharedsensoryperceptionandmotorskills.Shehasbeen

workingwithdentalandmaxillofacialsurgeons;studyingthehapticnatureofdrawingandsurgicalprocesses.Key

datahasbeenobtainedfromanalysingdrawingsandcomparingspecificskillswithoutcomesofclinicaltraining,

andworkwiththevirtuallearningsystemhapTEL.

DoesdissectionchangewhatmedicalstudentsdrawinAnatomy?Dimi’sstudywasdesignedtoexploremedical

students’understandingasthesessionprogresses.Students’drawingsfrombeforeorafterexploratory

whole‐bodydissectionsessionshaveanalysedforinformationalcontentandrepresentationalfeatures.This

projectprovidesanimportantopportunitytoadvancelecturers’understandingofthedifficultiesstudentsfacing

whenlearninginthiscontext.

JennyWrightisaPhDstudentatUAL,

studyingtheroleofdrawinginmedical

practiceandhaptictechnologies.Her

researchinvolvescollaborationwithsurgeons,

dentists,medicalstudentsandscientists,

withinthefieldofsurgeryandmedical

education.Theresearchhasinformedthe

developmentofvirtuallearningsystemsas

toolsforlearningandfordatacaptureand

collection.Thishasincludedworkwiththe

EYESIophthalmicsimulatoratMoorfields

hospitalandworkatKingsCollegeDental

InstituteusingthehapTELvirtuallearning

system.JennyishonoraryartistatMoorfields

Hospitalandavisitingexamineronthe

AnatomyforArtistscourseatUCL.Shealso

teachesataselectiveacademyschoolinthe

UKandgivesworkshopstoartstudents,

medicalprofessionalsandpatients.

www.jenwright‐art.com

medicalprofessionalsandpatients. www.jenwright‐art.com DimitriosPanagiotopoulos ​

DimitriosPanagiotopoulosisaHigherEducationAcademyMikeBakerDoctoralAwardstudentattheLearning

SciencesResearchInstitute,UniversityofNottingham.PriortoNottingham,DimireceivedhisMSc(Distinction)in

Education,TechnologyandSocietyfromtheUniversityofBristol.Hiscurrentresearchprojectseekstoexamine

theapplicationandeffectivenessofdrawinginthecontextofassessmentinanatomyeducation.

Sunday,2pm,Concurrentworkshop:

DrawingGym,withMichaelNamkung

WeAllDraw

DrawingGymexplorestheintersectionofdrawingandathletics.Usingthemovementoftheirbodies,participants

combinestrenuousexercisewithtraditionaldrawinginstrumentstomakecollaborativedrawings.Indrawing

underduress,weexplorethebodyasacognitiveorgan,andlinkconceptsofattentionindrawingtoattentionin

thebody–drawingwithallthesenses.

thebody–drawingwithallthesenses.

MichaelNamkung(b.1971,Oakland,California)isamultidisciplinaryartistbasedinMiami,Florida.Drawingon

thelanguageofsportstrainingandathleticperformance,Namkung’sworkexploresthesensoryexperiencesof drawingunderphysicalstrain.Throughperformance,video,installation,andtheparticipationofothers,he investigatesquestionsofprocess,materialityandperception,specificallyintermsoftheirrelationshiptothe body.NamkungholdsanMFAinDrawingandPaintingfromSanFranciscoStateUniversity,wherehewas awardedtheCollegeHood.HehasperformedandexhibitedinvenuessuchasSFMOMA,YerbaBuenaCenterfor

theArts,andHeadlandsCenterfortheArts.Honorsincludethe2010JamesRosenquistArtistinResidentin

Fargo,NorthDakota,anIndividualArtistCommissionCulturalEquityGrantfromtheSanFranciscoArts

CommissionandanInvestinginArtistsGrantfromtheCenterforCulturalInnovationin2011,andaTanne

FoundationAwardin2012.NamkungiscurrentlyAssistantProfessorofDrawingatFloridaInternational

University.

WeAllDraw

Sunday,2pm,Concurrentworkshop:

Collaborative,NarrativeDrawing,

withLucyLyons,PatrickLetschka&PhilippaLyon

Workingwithourcapacitiesfordescriptionandformemory,thisworkshopwillinvestigateourresponsesto

drawingasbothanarrativeprocessandaresponsetonarrative.Drawingisneverneutralorunivocalandthis

workshopwillconsciouslyusedrawingasasociallyandcollaborativelyframedprocess.Itwillde‐centrethe

ocular,foregroundingtheauditory,imaginary,sensuousdimensionsofdrawingasameansofthinkingaboutand

analysingnarrative.

Buildingonobservationsandexperiencefromdrawingwithmedicalstudents,medicsandsurgeons,the

facilitatorsareinterestedintheapplicationsofthisdrawingapproachacrossarangeofdisciplines.Itrequiresno

specificlevelofcompetenceorexperienceofdrawing,astheaimistoinvestigatewhetherandhowparticular

approachestodrawingmightstimulateandextendourmoreusualmodesofthought.

LucyLyons:Artist,LecturerinDrawingResearchatCity&GuildsofLondonArtSchoolandArtistinResidenceat BartsPathologyMuseumwhereshecoordinates‘DrawingParallels’,aShareAcademyprojectinpartnershipwith UCL,UALandACE.Thisresearchprojectinvestigateswaysartisticencounterswithfoetalandneonatalspecimens canofferawaytogivethesespecimensanopportunitytobere‐valuedandappreciated.Shehasalsorun

Drawing4SurgeonsworkshopsforsurgicaltraineesatBarts,DrawingPathologyforstudentsatStGeorge’s

MedicalSchool,andteachesvisualnotetakingforsurgeonsforonMEd.atImperialCollege.

PatrickLetschkaisseniorlecturerattheUniversityofBrightonin3DDesignandCraftandvisitinglectureratthe

RoyalCollegeofArtinJewelleryandMetal.Hisprimaryfocusisthehand‐madeobjectanditssignificancewithin liturgicalcontexts.Heisinterestedinobservationalandcommunicativedrawing.Patrickfoundedadrawing

courseformedicalstudentsandcraftstudentsin2009attheUniversityofBrighton.Thiscoursehasbecomethe

subjectofacontinuingresearchprojectwithco‐researchersDrTAinsworthandDrPLyon,examiningtherole andpotentiallearningbenefitsofcross‐disciplinarydrawingforstudents. HeisalsoamemberoftheUniversity ofBrightonDrawingResearchInterestGroup.

PhilippaLyonisaResearchFellowintheCollegeofArtsandHumanities,UniversityofBrighton.Followingher

PhDinSecondWorldWarpoetryandaperiodspentsupportingaHealthProfessionsresearchnetwork,she

movedintothearts.Shehasresearchedartanddesigneducationfromhistoricalandcontemporaryperspectives

andcuratedexhibitions.Hercoreresearchfocusisinthefieldofapplieddrawing,exploringtheimpactof

cross‐disciplinarydrawingeducationandtheuseandvalueofthedrawingthatoccurswithinclinical

consultations.Sheisalsointerestedintheuseofdrawingasavisualresearchmethod.Sheconvenesa

cross‐disciplinarydrawingresearchgroupattheUniversityofBrightonandisinterestedmorebroadlyin

facilitatingarts‐healthresearchcollaborationsanddevelopingconstructivemethodologiesforarts‐health

projects.

Sunday,2pm,Concurrentworkshop:

Play,Chance,andComics,withMattFinch

WeAllDraw

Thishands‐onworkshopexploressocialformsofdrawing,usinggamesandperformanceinbothphysicaland

digitalspaces.

Takingfocusawayfromdraftsmanshiptoexploretheuseofcomicsinoralstorytellingandplaybothonand offline,thesessioninvestigateshowdrawingcanbeincorporatedintowaysofthinkingandmakingforallages,in andoutoftraditionallearningenvironments.Participantswillmakeacollaborativebiographicalartworkusinga

3Dcomicsformat.

Norobotswillbenecromanticallyensouledduringthecourseofthissession.

MattFinch ​

MattFinchwritesandmakesfunthingsforpeopletodoinpublicplaces:everythingfromzombiesiegesand

MostrecentlyhewascreativeproduceronLambethLibraries'FunPalacesfestival,andledthepilotoftheState

WeAllDraw

Sunday,2pm,Concurrentworkshop:

Knucklebones:Theartofmakingyourmark,withSuzetteSnyman

AgainstthebackdropoftherhythmicalbeatofAfricanmusic

(DjembeandMarimbas)thisdrawingworkshopkicksoffwith

anAfricanchildren’sgameknownas‘knucklebonethrowing’,

alsoreferredtoasdolosse‐throwing.Therhythmofthemusic

andtheactof‘tossingdolosse’simultaneouslyinvolvedifferent

kinestheticsensesofthebodyandactasacatalystforaseries

ofangularandflowingdrawingmotions.Charcoal’sreceptivity

tobodyandhand‐movement,hand‐pressureanditsversatility

fromsensitivetodramatic,boldmark‐making,makesitanideal

toolforenrichingtheuniqueexperienceoffreeand

spontaneousmark‐makingduringtheworkshop.

spontaneousmark‐makingduringtheworkshop.

Hand‐made‘knuckle‐bonestructures’ordolosseareprovided

forparticipantstoperformtheplayfulritualof‘tossingdolosse’

tostartaseriesofspontaneousmark‐making,dotsandlines.

Thedolosseandmusicprovideanavenuetoaccessinternal

narratives(andemotion)thatthroughthedrawingprocess,

narratives(andemotion)thatthroughthedrawingprocess, getsexternalised.Oncetheimplicitismade

getsexternalised.Oncetheimplicitismade

explicit,drawingsprovideastartingpointfor

furthermanipulation,explorationand

dialogue.Theworkshopisaimedequallyatfirst

timedrawersandadvanceddrawers.

SuzetteSnymanisamemberofstaffattheInformationDesigndivisionattheDepartmentofVisualArtsatthe UniversityofPretoriainSouthAfrica.SheisresponsiblefortheImagingandVisualisationsubject,acoreand practicalsubjectfortheBAInformationDesigndegreethatisconcernedwiththefundamentalprinciplesof drawingasamethodofinquiryandatoolforproblemsolving.Shecoordinatesthesubjectfromfirsttothird year.Shehasbeenteachingdrawingtoundergraduatestudentsaspartofthesubjectfortwentyyears.She providespostgraduatesupervisiontoHonoursstudents,inkeepingwiththethemeoftheroleofdrawinginthe designprocess.Herresearchinterestisontherelationshipbetweendrawingandcognitioninimagingand visualisationprocessesineducational,researchandcommunicationcontexts.HerMastersinInformationDesign,

Lendingahand:Aphenomenologicalexplorationoftheactofdrawing,isdueforsubmissioninOctober2015.

WeAllDraw

Sunday,2pm,Concurrentworkshop:

NavigatingIrreducibleHumanity(withaPencil),withThomasBosket

NavigatingIrreducibleHumanity(withaPencil),withThomasBosket participants Thefirstphaseoftheworkshopwilladdresshowwe

participants

Thefirstphaseoftheworkshopwilladdresshowwe

think,howourbrainworksandwhatpartsofthose

activitiesaremostbeneficialtocreativity.Ourbrain

formsmeaningbymetaphorandanalogyandmost

ofourconnectionsaresimplifiedorlogicaltoserve

ourbasicdailyneeds.Theydonotserveourcreative

minds.Entertainmentiswhatweknowaboutour

world,itisaffirming.Artischallengingandbrings

intoquestionmanyofourassumptionsandbeliefs.

Artexpandsourworld.

Inthisphasewewillformteamsandplaywith

metaphorinawordgamethatleadstomaking

drawings.Thisexerciseisusedtoexposeourbrains

naturalinclinationsandhowtoovercomethemfor

thesakeofenteringastateofoptimalcreativityand

tobringintoquestionourproclivitytosatisfice.

Inthesecondphasewewilltakesomesimpleobjects

andfilterourobservationofthemthroughthe

insightswemayhavegainedfromphaseone.The

goalistoquestionourpresumptionsandtofeedour

brainfreshunbiasedinformationsothatwemay

havethemostfertilecreativegroundtogrownew

insightstofamiliarsituations.Sectionsofmybook

thataddressperceptionandintentwillbeusedto

illuminatethisprocessinaconcretefashion.

1. Materials/spaceneeded/numberof

Anymaterials,butsimplerisbetter/Anyspace/Anynumberofpeople.

2. Idealduration

3hours.

3. Whotheworkshopisusuallyaimedat?(agegroup,school/gallery/communitycontext,etc.)

Peopleneedingasomedeeptimetoexplore.

4. Intendedoutcomes

Joy.Agreatersenseofunderstandinginregardstoone’sownpractice.

WeAllDraw

5. Stepbystepinstructionswithtiming(includingpointsfordiscussionifappropriate)

a. Sittogetherfor2minutesinsilence.

b. Pickanobjectyouwouldliketointerpretorunderstandbetter.Placeitinalocationthatis

“yours”.

c. Agreetosupportoneanotherandcreateaspacethatsupportsnotionsof“joy”not“fear”.

d. Createa“pot”toplacewrittenblurbsin.Explainthateveryonewillwriteablurbofwhatthey

wouldliketoseedoneindrawingandplaceitinthepot.Otherswillrandomlypullthese

“tasks”outofthepotandperformthem,astheyseefit,indrawings.Oncedone,pleasepulla

new“task”andwriteoutanewonetoleaveinthepot.

e. Eachpersonwilldrawtheirtaskofvariousattendeeschosenobjects.Onegoalistodrawone

drawingforeveryotherpersonintheroom.Thisissharingyourinnerself.

f. Thisconcludesthefirsthalf.Inthesecondhalfhaveparticipantslookoverthedrawingsintheir

individualspacesanddrawaresponsetoalltheotherattendeesdrawingsoftheirobject.

g. Guidelines:don’thurtyourselforanyoneelse.Ifyoucomeintothespaceyouagreetoworkby

theguidelines.

h. Generalsharingattheend,butleavingroomforsilencesothattheworkcanpenetrateour

minds,bodiesandsouls.

6. Yourreflectionsonthebiggerpicture(upto1500words).

ThisideacamefromTasksbyOliverHerring.Italsoderivedfromthelackofsittingandcontemplatingwhatwe

aredoinginaquiet,deepmanner.Thepurposeistodiscoversomethingnewinourownworkbyreflectingon

howothersseesomethingwearepassionateabout.

Thiscanbeadaptedmanyways.

Oneobstacleisthelackofunderstandingaboutcreativeversuscriticalthinking.Mostpeopleseeksome

understandingthatissimplymentalandweareaskingforadeepernon‐verbal,bodilyunderstanding.

OnegreatoutcomeoftheLondonversionwasmyinabilitytospeakforcedmetoteachtheworkshopinsilence.I spokeinthefirstfewminutestosetitupandthenweallworkedinsilence evenattheend,therewasverylittle “talkback”.Peoplecametomeafterwardsandexpressedhownurturingthiswasandhowitestablisheda strongersenseofgroup.asmanypeoplehadcomefrommanydifferentcountriesandlanguagewasabarrierto anempatheticunderstandingofeachotherandthework.Thissilenceallowedthemtoconnectinwaysthat wordsmaylimit.

ThomasBosketteachesatParsonstheNewSchoolandhastaughtworkshopson:ColorBots(colortheorytaught throughbasicrobotics),andExploringPerceptionThroughInterpretation(interactivedrawingexploration). Additionallyheteachesworkshopswithafocusonfundamentalaspectsofperception;howwesenseourworld andtherebyinteractwithandcreatefromitswonders.ThomasstudiedpaintingatParsonsandreceivedhis

M.F.A.fromYaleUniversityin1995.AsanAssistantProfessorandCoordinatorofGeneralStudioandTimeat

ParsonshehasdevelopedtheColorTheory,TimeandDrawingcurriculatowardamoresociallyoriented

educationmodel.HeattendedthePlayaartistsresidencyin2012andwasfilmedforthePBSseriesOffBook’s

“TheEffectofColor”segment.Heisparticularlyproudofastudentnominatedaward:DistinguishedFaculty MemberoftheYearatParsonsin2002. PleaseseehislatestventuresatNorthSchoolStudio.

Sunday,3.30pm,SpecialGuestperformance:

ReflectionsonThinkingthroughDrawing,withMattFreedman

WeAllDraw

WeAllDraw MattFreedmanisanartistandwriterandlivinginRidgewoodQueens,NewYorkCity.Recentpublicationsinclude

MattFreedmanisanartistandwriterandlivinginRidgewoodQueens,NewYorkCity.Recentpublicationsinclude

thegraphicmemoirRelativelyIndolentbutRelentless,publishedbySevenStoriesPressin2014.Heteachesinthe

FineArtsandVisualStudiesprogramsattheUniversityofPennsylvania.WithartistandpercussionistTimSpelios,

FreedmanhascreatedtheEndlessBrokenTimeseriesatGallery10inBushwick,Brooklyn;monthlymusic,

drawingaspokenwordperformancesthatdrawonjazz,vaudeville,improvisationaltheaterandlightningsketch

traditions.BrokenTimestoriesmeanderfromonethingtoanother,endingupfar,ornotsofar,fromwherethey

began.

AreviewofMatt’sBrokenTimeperformancethatisinthecurrentissueofBomb:

WeAllDraw

OngoingspecialGuestperformance:AdmittingthePossibilitiesofError,with

KirstenLavers.

Penonpapermeditationsonnotbeingperfect,makingmistakes,whatisleftbehindandsobecomespossible.

Thesedrawingsbeginwithaperfectcirclerevealingthemselvesthroughmyrepeatedattemptstoperfectlycopy

it.Drawingstakeplaceasliveperformanceforspecificsites,inconversationwithworkplaceteams,by

commissionorprivatelyinmystudio.Thenumberofcirclesdrawnandthepensorpencilsusedaredetermined

bythedrawing’smeditation.

Iwillbeworkingonadrawingthroughoutandin‐betweenthesymposium’sactivitiesandwelcomeyour

participationandconversation.

participationandconversation.

Aformernurse,KirstenLaversstudiedatDartingtonCollegeofArtsgraduatingin1991subsequentlyteaching

thereonboththeVisualPerformanceandPerformanceWritingdegreecourses.Shehasbeeninvolvedina

numberofpublicartprojectsandextendedcollaborationsincludingtheZwillingeProject1992‐96(withMelanie

Thompson)andTNWK1997‐2007(withcrischeek).Shehasalsoworkedextensivelywithhomelesspeoplein

variouswaysmostrecentlyasfounderofFLACKasocialenterpriseinvolvinghomelesspeopleineveryaspectof theproductionofamonthlylistingsmagazineforCambridgeUK.Sheiscurrentlyfocussingonaseriesoflive

drawingprojectsentitled‘AdmittingthePossibilitiesofError’mostrecentlyatPerformanceArcade2015

Wellington,NewZealand.