DR AWINGPAPER#5

INTRODUCTIONDrawing Paper is a freely distributed, not-for-profit publication funded and made possible solely by its contributors. Our featured artists pay an equal amount for their page which in total covers theproduction costs. With this model it ispossible to be liberated from the tediousrigours of funding applications and criteriaguidelines, enabling us to do things on ourown terms –Drawing Paper is a logo andadvert free zone.

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If you would like extra copies sent to you or your establishment please email us at drawingpaperemail@gmail.com

We are looking for distribution outlets(gallery shops, studio groups, book stores).If you are interested in stocking DrawingPaper please email us for details:drawingpaperemail@gmail.com

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Sincere thanks to all our contributors for their support, encouragement and enthusiasm.

All artworks copyright © The ArtistsPublished April 2012.

Back cover photo: Mike Carney

Published and designed in Liverpool, UK by Mike Carney and Jon Barraclough.

www.mikesstudio.co.ukwww.jonbarraclough.co.uk

Printed in a limited edition of 3000 by Sharman and Company, Peterborough.www.sharmanandco.co.uk

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Sometimes an idea develops and becomesmore than you thought it would be.Drawing Paper 5 is published on the eve of our installation of a Drawing Room atMetal in Liverpool as we prepare to beconsidered for the Liverpool Art Prize 2012.We are very happy that Drawing Paper hasbeen shortlisted and we decided to invite the other shortlisted artists to contribute this time to produce a Liverpool Art Prizespecial edition. Alan Dunn, Tomo and Robyn Woolston are all therefore included so you are now looking at a souvenir issue.

Since Drawing Paper 4 was published lastyear we’ve taken the spirit of our publicationinto Drawing Sessions – a 12 hour marathondrawing event organised in partnership withThe Royal Standard artists’ collective. Ourstimulus for the day was very ably providedby music and sound makers from the Liverpoolnetwork of artists and performers. It was, we think, a great success and we were reallypleased to see visitors getting inspiration andenergy from the day – and producing workthat continues to challenge the boundaries of drawing. We hope to take the idea to thenext level by organising another similar event,on a larger scale, during this years’ LiverpoolBiennial in October 2012. If you check ourblog we’ll keep you posted.

JONATHAN KIPPSStack (Drawing)Acrylic and emulsion on oil paper.508 x 406mm. (2012)

ANDREW FOULDS UntitledPen, pencil and ruler on paper. 580 x 370mm. (2012)

CAITLIN MASLEYUnbuilt#5Graphite, ink, whiteout and acrylic on paper.203 x 266mm. (2010)

JON BARRACLOUGHBringing in the SheavesGraphite and charcoal on cardboard with erasure.590 x 840mm. (2012)

DAKSHA PATEL Diffusion 1.2Pencil on paper. 650 x 650mm. (2011)

MIKE CARNEYUnfoldingInk, pencil, chinagraph and dry transfer on paper.210 x 297mm. (2012)

RACHEL CATTLEUntitledOngoing series (got to lose control, got to lose control, got to lose control and then you take control)Pencil on paper.297x 210mm. (2012)

NAOMI KENDRICKUntitled Large No / MusicCharcoal on paper.2720 x 2790mm. (2011)

MARY GRIFFITHSLB 42Watercolour on paper.210 x 297mm. (2011)

TOMODeath Of A LifterDrawing inks on reclaimed board.450 x 630mm. (2012)

ALAN DUNNEveryday People: sixteen four-second drawings on postcards of people carrying things while passing my windowInk on postcard. (2011–12)

NICK KENNEDYFaultlines (Ten Hour Study)Graphite and acrylic paint on paper.259 x 350mm. (2012)

ROBYN WOOLSTONLastMulti-media. (2011)

GINA CZARNECKIContagion compilation 1 – Virus / Pedestrian / Contamination networkDigital drawing /print. 290 x 420mm. (2005)

SUSAN LEASKall about mePencil on paper.245 x 190 mm each. (2005 – present)

TROY MENDHAMFUCK DEATH LETS RIDEPen & Ink on paper. 150 x 135mm.(2012)

JONATHAN PILKINGTONWaiting RoomPencil on paper. 420 x 290mm. (2012)

EVANGELIA SPILIOPOULOUOffice Drawing #156 (2012)Office Drawing #132 (2011)PDF file. 420 x 297mm each.

RACHEL ANN KURDYNOWSKA China RabbitPencil on Bristol Board. 297 x 420mm. (2011)

MIKE CARNEY (UK)Intricate, intuitive, abstract compositionalchallenges. Controlled yet expressive.Harmony here, chaos over there. Uneasyrelationships. Contrasting aesthetics andideals. These are the kinds of drawingsMike enjoys producing right now.

Mike is a studio member at The Royal Standard, Liverpool.

www.mikesstudio.co.uk

JON BARRACLOUGH (UK)Sowing in the sunshine, sowing in the shadowsFearing neither clouds nor winter’s chilling breezeBy and by the harvest and the laboured endWe shall come rejoicing bringing in the sheaves!

Words by Rev. Knowles Shaw (1834 –1878)

Jon Barraclough will be exhibiting as part of the Birds’ Ear View Collective at VictoriaGallery and Museum, Liverpool, 31 May to30 August 2012.

jonbarraclough.co.uk

RACHEL CATTLE (UK)The Departure, a publication made in collaboration with Steve Richards ispublished by AND Publishing spring 2012and future exhibitions include a three personshow at Maureen Paley, London in 2013.

Recent exhibitions and performancesinclude The Anti-library, curated by Paul Pieroni, Space, London; OutrageousFortune, curated by Andrew Hunt –HaywardTouring / Focal Point Gallery; Drawing 2011,The Drawing Room, London; Black HoleHums B-Flat, Barbican Art Gallery, London;Picture This, This Is Not A School, Five Years, London.

www.rachelcattle.co.uk

GINA CZARNECKI (UK)1. Contagion: VirusThe isolated virus in swollen ring.

2. Contagion: PedestrianImages mapping the movement paths ofpeople above federation square are re-drawnonto a grid formed from dried urine crystalsphotographed through an electron microscope.deep in the shadows lies a threat – an invisiblevirus. Contagion models the spread of thevirus amongst past, and present visitorsusing rules and bahaviours based on theepidemiology of sars.

3. Contagion: Contamination Network The tiniest movements of the people in the installation space are tracked and madevisible as colored smoke. New colours andsounds are created as visitors paths collide.The audience draw the lines with their bodiesand mix colours. by mingling with one another.The date and time of connections / crosscontaminations are momentarily visible.

Cross contamination causes reactions,either the virtual death of the participantwhere they become grey and graduallydisappear or recover to full colour. The reactiontriggers images, the sequences of images aredecided by actions and response.

www.ginaczarnecki.com

ANDREW FOULDS (UK)Drawing offers Andrew a counterpoint tohis more general practice as a painter andmaker of sculptures, where he relishesexploring the messy and scruffy nature ofthe materials used. The drawings he makesare refined, precise and meticulouslyconstructed, traversing the line betweenscience and art.

In his piece produced for Drawing Paper 5Andrew sets himself the challenge of findingthe space which exists between the solid andthe ethereal. An object dislodged in time orfaltering at the edge of its own existence.

For the past two years Andrew has been astudio member and director at The RoyalStandard, Liverpool.

www.andrewmarkfoulds.com

ALAN DUNN (UK)Everyday People is a series of four-seconddrawings on postcards from Dunn’s studiowindow, capturing people as they go aboutlife between home and work, usually carryingitems such as newspapers, laundry bags,The Guardian, broken computers, skateboards,school projects or unidentified heavy objects.

Alan Dunn (born Glasgow 1967) studied atGlasgow School of Art and The Art Instituteof Chicago. He was Liverpool’s football-artist-in-residence during Euro’96 and leadartist on the community webcasting projecttenantspin. He specialises in non-gallerycollaborative work and has developedcontent with Bill Drummond, John Cage,Yoko Ono, Gerhard Richter, Mike McCartneyand Carol Kaye and has developed projectsfor Rio de Janeiro, Los Angeles, Bergen,Shanghai and New Delhi.

www.alandunn67.co.uk

MARY GRIFFITHS (UK)Through use, a tablespoon has been worndown by a right-handed person. Its nickelbase is exposed where the thin coating ofsilver has been rubbed away and its handlehas darkened where it has been gripped.The drawn version of the spoon is a stain of watercolour on paper and relates todrawings I have made from burnishedgraphite. These ‘black drawings’, in someways, allude to early photography wherethe shadows of the living are cast withinthe tarnished surface of the photograph.

Mary Griffiths graduated from ManchesterSchool of Art in 2009. Her work has beenshown in the UK, Helsinki and San Franciscoand her book, Pictures of War, was publishedby Carcanet in 2009. Griffiths is Curator ofModern Art at the Whitworth Art Gallery,Manchester, where she has worked since2000. Her work is showing at Bureau inManchester until 12 May.

marygriffiths.com

NAOMI KENDRICK (UK)My drawings are the development of alanguage, their form, scale and array ofmarks visually close to a scrawled writtenlanguage at times, are a record of sensationsexperienced, a moment felt. Created in astate where the conscious and unconscioushave to be carefully balanced and sensorialtriggers paid attention to, my body becomesas much a part of the drawing process asmy mind.

I use different drawing processes tocomplement or provoke different states ofmind; drawing in response to music, alone,with musicians in a studio, or for a liveaudience. The music becomes an enabler, a direct route to the hidden in me. Whendrawing without music I attempt to fall intothe same place, to bring forth psychologicalrhythms and forms, only this time in silence.

Doing the drawings is to feel more than think;they are a release, the results a surprise.

www.naomikendrick.co.uk

ABOUT THE ARTISTS

NICK KENNEDY (UK)Nick Kennedy is a visual artist based inNewcastle upon Tyne. Working across arange of media, including drawing, sculpture,installation and performance, his practice canbe seen as an ongoing exploration of ideasaround chance, order, play and serendipity.The act of drawing is central in hisinvestigation of the creative process.

Sometimes, mechanical devices or tools areintroduced to challenge his control over theprocess of making. Often, it is a strict systemor a pre-determined set of rules that definethe process of making. The conflict betweenchance and influence, order and chaos,success and failure is central to all works.

Faultlines (Ten Hour Study) relates to a bodyof site-specific drawing installation work.Beginning with an arbitrary form, consecutivelines are carefully traced out one by one,each new line determined by the contour of its predecessor. The small mistakes andimperfections that occur are faithfully copied,over and over, creating a visual echo ofcumulative error across the surface.

A newly commissioned wall drawingFaultlines (Anthropometric Variations)will be shown at Smiths Row Gallery, Bury StEdmunds in May 2012 as part of theexhibition Powerhouse.

nick-kennedy.co.uk

JONATHAN KIPPS (UK)I create sculptural forms, using paintingmaterials, which sit directly in the viewers’space. I try to build a dialogue between theillusionistic spaces of perspective andcomposition inherent within painting, and the experience of navigating real spacearound my objects.

There is a pictorial and compositionalquality inherent in painting which informsmy thought process and, as an extension ofthese ideas, I started a series of drawings.Life-drawing techniques of ‘negative space’utilise flat background colour to highlightthe sculptural form and gestural marks areused to quickly articulate sculpturalcharacteristics. The drawings speak asimilar language to the objects, but use aslightly different dialect as they look atsculpture through the lens of painting anddrawing: 3D structures are represented and flattened pictorially, using the materialsof which the original objects were made.

www.jonkipps.co.uk

RACHEL ANN KURDYNOWSKA (UK)The exploration of drawing is seen to be aprivate act committed by myself, the artist.Using the medium as a form of meditation,has lead me to see my practice as one of acathartic nature. Through possible repetitionand lack of narrative, I am able to indulgemyself into the process of pencil to paper,and concentrate on nothing else. I hope thata sense of pointlessness is arrived at fromviewing my work and so directing myaudience on to the route of ‘making’ ratherthan what has been ‘made’. Highlighting theidea that drawing can be philosophicallystimulating for the mind of artists, yetaesthetically pleasing to the eye of an audience.

Rachel will be exhibiting at NorwichUniversity College of the Arts UndergraduateDegree Show 2012, 27 June – 3 July 2012

www.rachelkurdynowska.co.uk

SUSAN LEASK (UK)The drawings are part of an on-going series ofdrawings and photographs called all about me.The series began in Finland in 2005 whereI tried to capture moments of light as theintense summer light of the Northernhemisphere bounced and sparkled off walls,paths and water. It began as photographsand video and later I started to makedrawings from them.

The series has split into two, moments oflight and all about me. All about me shouldbe self-explanatory and has become a visualjournal of my movements here in Liverpooland on various artist residencies and othertrips in the UK and abroad.

Susan will have a solo exhibition, Those wholeft, those who stayed at The Bonhoga Gallery,Shetland from 16 June – 29 July 2012 andwill exhibit alongside Anna E Stark at AtelierStark, Cologne Germany in September andOctober 2012 as part of Here, There, Everywhere,Liverpool in Cologne, Germany 2012.

susanleask@yahoo.co.uk

CAITLIN MASLEY (USA)Caitlin Masley has an MFA from theUniversity of Arizona. She has won severalgrants and fellowships, including an EFAfrom the Socrates Sculpture Park, Pollock-Krasner Fellowship, Puffin Foundation andthe Foundation for Contemporary ArtEmergency Grant among others. Ms. Masleyhas been an Artist in Residence in Austria,Germany, Quebec, Norway and Switzerlandwith accompanying exhibitions andcatalogues. Group exhibitions includeMOMA/PS1, Center for Built Environment,Storefront for Art and Architecture, IslipMuseum and Urban Institute of ContemporaryArt. In 2012/13 Ms. Masley will producenew installations at the McColl Center forContemporary Art, Kingston Museum ofContemporary Art and Territories Unknownat the College of New Rochelle. Most recentlyMs. Masley has been in residence at theManhattan Graphics Center and TriangleArts Foundation in New York.

www.caitlinmasley.com

TROY MENDHAM (AUSTRALIA)Faster, faster faster! until the thrill of speeddissolves the fear. A thump in the groin, a buzz in the head, a big grin on the face.Oh yeah, this is what it is. Two full sketchbooks, two days straight drawing. A fewhundred sketches by the end of it. Forced tochoose I bin the rest and pick one. Suddenlythe status has changed to that of the exalted,finished piece of work. The wild seedbecomes the exotic flower.

Troy will be exhibiting at ‘Un:sighted’,a group exhibition by six abstract visualartists, 17 – 28 July 2012, FortyfiveDownstairs, Melbourne, Australia.

www.troymendham.com

DAKSHA PATEL (UK)Daksha Patel’s practice responds to theimages produced by medical visualisationtechnologies such as X Ray, CT and MRIscans through the process of drawing.

The Diffusion drawings were commissionedfor the light boxes at Piccadilly train station,Manchester. They map environmental dataabout air quality (carbon dioxide, nitrousoxide levels) upon the biological structuresof the human body. Daksha worked withGIS (geographical information systems)and images from the Wellcome Trustcontemporary medical collections duringresearch stage.

Diffusion 1.2was inspired by a transmissionelectron microscopic image of a mast cell withhistamine granules and a dot map of airpollution emission sites in Greater Manchester.

Daksha is currently a practice led researcherat Northumbria University. Her researchproject engages with historical andcontemporary medical collections throughthe process of drawing.

www.dakshapatel.co.uk

JONATHAN PILKINGTON (UK)The interrogation of aspects within drawingand how the use of subtle and gestural markmaking coincide with the notion of paintingand are thematic of my practice. Questioningthe definition of a drawing and the creationof something that oscillates between realism,figuration and abstraction. Drawings aremade with the intent to be viewed somewherebetween aesthetic value and functionality.Representation within an image is importantand the relationship between the sourcedimages and drawings is almost collage based, culminating in a contrived fictional environment.

www.jonpilkington.co.uk

EVANGELIA SPILIOPOULOU (UK)The Office Drawings (2009 – ongoing) outlinemy interest and exploration on the forms ofart deriving from the culture and habits ofcontemporary urban life. Detaching thework from the sublime beauty of academicdrawing, the ritualistic invention oftechniques and the overtaking labourinvestment, I suggest a form of culturalcreation originating from the internalrestructure of our existing habits in life.

Evangelia Spiliopoulou graduated fromAthens School of Fine Arts (BA Hons) andcompleted an MA in Fine Arts atManchester Metropolitan University.

In September 2011 she was selected toparticipate with a drawing at Tate’s projectFrom Evening Till Night. Her work wasnominated for the Drawing Room Bursary2011 and was shortlisted for the NewContemporaries 2010. Her work has beenexhibited at Bureau, Manchester and Peep-Hole, Milan.

Evangelia is a studio member at RogueStudios Manchester and is represented byBureau, Manchester.

www.bureaugallery.com/artists.asp

TOMO (UK)My name is Tomo, I am from Liverpool andI like scribbling, dusty old funk records,fresh air, people, fig rolls, kung-fu films andcycling. I’m also partial to making a bit of artnow and again and have adopted a workethic of recycling and working with whatevermaterials I can find, often striving to transformwaste into art. I like to think of this as a kindof alchemy and everything seems to be movingalong alright. Thank you for looking.

Death Of A Lifter is quite a personal pieceabout life, love, death, nature, travel andthe unknown. Inspired by my hitchhikingjourneys, this idea entered my mind sometime ago whilst standing at the side of aroad in the Netherlands and never reallywent away. I suppose this one is both thejourney and the destination but don’t takeit too seriously.

www.quangowangism.com

ROBYN WOOLSTON (UK)Woolston intervenes within supply chains,re-appropriating product, meaning andmetaphor. Located somewhere betweenProcess and Povera, she presents a ‘rhizomatic’assault on systems that place financial‘profit’ above societal ‘value’ in a worlddefined by finite resources. By focusingupon situational dynamics she createsinstallations that question, or illuminate,hypermodernity’s propensity towardsoulless homogeneity. The nature of thepersonal and the public, the geo-politicaland local is brought into question when the motives of the machine are revealed in correlation to the autonomy of the individual.

Last (2012) forms part of a synthesisedproject that began with Smart Price atThreshold Festival 2012. The body of workquestions the ethics and viability of cradle-to-grave processes that drain naturalresources with little or no regard for theminerals, materials and people they utilise.

Robyn is exhibiting in Istanbul later in theyear with the collective she co-founded in2008 www.postliverpool.com

www.robynwoolston.com