Drawing & Printmaking



The Longlist for the Signature Art Prize 2015 Drawing & Printmaking Category

Transcript of Drawing & Printmaking

Page 1: Drawing & Printmaking




Page 2: Drawing & Printmaking




Page 3: Drawing & Printmaking



Sister in Thought

About this piece:

“Someone's expression can say so much yet so little. It can reveal

much yet can hold back a lot. It can suggest doubt,

pensiveness, reflection, insecurity or contentedness. I wanted my

piece make the viewer wonder what the subject may be thinking

and feeling.”

Pencil and Wax Crayon

21 x 29 x 0 cm


Page 4: Drawing & Printmaking




About this piece:

“On this linocut is a pioneer of the Yellowstone National Park. I

really love making art connected with nature, and this person

means for me the protection of natural beauty and recalling how

people living in cities will always miss the wildlife. I also like to

make precise works with strong contrast to catch the eye.

Realistic work gives me satisfaction, especially human faces. I

enjoy portraying faces because we can see in them the entire

history of life.”

Linoleum, Paper, Burins

23 x 35 x 0 cm


Page 5: Drawing & Printmaking



Mrs E.

About this piece:

“The presented work is the result of an earlier experiment with

different materials and techniques. My interests have always

included the portrait, but in my work I try to move away from the

classic depiction. The portrait was created in two phases. The

first of them was a direct contact with the model – it was then

that I created a sketch. The next phase was to oppose the

sketch with memories which reminded in my mind after the

previous experience. Models of those portraits were not chosen

at random. They are my family, some friends and also people

whom I highly value.”

Paper, Ecolina

49.5 x 53.5 x 0.01 cm


Page 6: Drawing & Printmaking




About this piece:

“Ongoing themes in my work include the body, self-scrutiny, the

senses and memory. In short; imagining how it feels to be human


‘Bodies’ explores the outside influences that shape our bodies

and our view of them. I want to establish a positive connection

to the body, to see it as a complicated, changeable, fleshy

thing, not as a vessel for improvement or punishment. The

obsessively detailed pencil drawing mirrors the nature of body

culture, how we intensely analyse the body and attempt to

sculpt them in ways often out of our control.”

Paper and Pencil

120 x 150 x 0 cm


Page 7: Drawing & Printmaking



Untitled 70, Trap and Snare Series

Graphite Pencil

29 x 42 x 1.5 cm


About this piece:

“In my recent practice I have been exploring the idea of the

animal as practitioner and how different species might shape,

frame and make space in our everyday urban environments

through methods of sculpture and drawing. As human beings we

share our urban environments with a variety of different species

whether they are domestic, wild or farmed for their produce, most

of them contributing to our own survival, but when does a wild

animal like a rabbit or a bird for example become


My practice has aimed on exploring these issues by not only

creating sculptures that are works of art but are also spaces for

an encounter between species. As a part of this project I came

across the term ‘Vermin culture’. This term is given to various

species of animal which are considered a nuisance or a ‘pest’.

This inspired me to produce a number of sculptures made from a

variety of found objects that I placed in a deranged manner to

give the illusion of an unstable structure that could trap or snare

an animal. From these sculptural spaces, I have used traditional

drawing techniques with a contemporary aesthetic to document

and record these temporary structural forms. “To consider the

boundaries of what it means to be human rather than animal”

(O’Reilly,2009,p.149.) is a quote I have used as a guiding

principle in my work to address questions about the residual

traces left by animals, looking at the spaces animals inhabit and

turning them into sculptural forms.”

Page 8: Drawing & Printmaking



Semi II

About this piece:

“This piece depicts an abstracted human head almost packed

into a box.

Ambiguous graphic forms reveal to us cares of human everyday

life, shyly reveal another layer of ordinary and unusual hopes

and dreams and loose thoughts permeating involuntarily in the

structure of objects that appear in the production line”

Paper 300g/m, Charbonnel Ink for Etching, Aquatint, Etching

100 x 70 x 0 cm


Page 9: Drawing & Printmaking



Everything is Turbulence

About this piece:

“The process of printmaking has always intrigued me, as it

combines the methodical act of layering colours and line with an

element of chance. The inks are merged together with each pass,

so the images become uncontrollable, imperfect and dynamic. I

take my colour palette from a collection of my own pinhole

photographs. The dappled light and abstract washes of colour

inspired this ambiguous act of mark making. The three rectangles

are clean and minimal, yet within each shape, tiny details give

an impression of a landscape awash with colour. The title is

taken from 'The Sea Inside' by Philip Hoare; the contradiction of

'turbulence' against the stillness of the straight edges points out

the spontaneity of printmaking.”

Silk Screen Print on Bread and Butter 200gsm paper

26.5 x 37 x 0.05 cm


Page 10: Drawing & Printmaking



Corrosive Stage 11

About this piece:

“The Corrosive series focus on diseased cells and malformations

in Nature. Allowing the alchemy of etching to overtake my

original drawing, the boundaries and restrictions of the plate

decompose, leaving behind the appearance of an organic,

natural print.

The fine line between the beautiful and the grotesque intrigues

me; how an image can simultaneously attract and repel.”

Etching on Paper

56 x 75 x 10 cm


Page 11: Drawing & Printmaking



His Momentous Burden (Atlas)

About this piece:

“My works often develop into playing with traces of the past, and

through this act I celebrate the activities that govern and

construct who we are as human beings. In my current works I

have ironically drawn internal organs appended with tattoos,

which are generally inscribed on the external of the body. I've

imprinted internal thoughts, used irony, known text, classic

metaphors and subverted specific motifs in Greek mythology to

assert my own idiosyncratic visual language. Each organ is

selectively chosen to represent a significant character from a

Greek myth, that myth then dictates what kinds of images are

inscribed onto the organ. This form of body modification

becomes an expression or identification of the fictional

character. The myth and the imagery of tattoos become the

template for expressing my own cultural and linguistic systems.

The notion of these expressive tattoos being placed underneath

the skin rather than externally suggests deeper thoughts, inner

reflection, viewing the internal as a way to understand the

external, and the microscopic versus the macroscopic. The use of

internal organs is to exaggerate the concept of being human

and human beings ("we're all the same inside"). However, by using

the unique and intimate qualities of tattoos I have ironically

personified these organs that were deemed to be once a

component of an individual. The organs also furthers this idea

that death and decay is inescapable, and immortality is a fool's

dream - flesh is the very death of the body.”

Pencil on Paper

76.2 x 50.8 x 0 cm


Page 12: Drawing & Printmaking



I Remember, Therefore I Exist

About this piece:

“I have always been focusing at memory, nostalgia and what

makes us - us.

I consider this as my signature piece as I am working with such

mediums that have been around for centuries which allow me to

further develop my relationship with the ongoing theme in all of

my works. I consider my more recent works as turning point in my

artistic career as I used to (and still am) using photographs from

my family archive, but have expanded my research into

cyanotype to push myself further.”

Cyanotype, Watercolour on Plywood

61 x 61 x 1 cm


Page 13: Drawing & Printmaking




About this piece:

“’Essentia’ was created using acid techniques such as aquatint,

aqua fort, soft vanish and split. I wanted to express my relation

to the creative process and its connection to my personal

feelings. I named the piece ‘Essentia’ to outline the fleeting

importance of this work. In this work, I aim to share deeply

concealed emotions, over which I want to take control by

materialising them. "We fear violence less than our own feelings.

Personal, private, solitary pain is more terrifying than what

anyone else can inflict." - Jim Morrison


13 x 13 x 0 cm


Page 14: Drawing & Printmaking



It's Changed from Something Comfortable, to Something

Else Instead V

About this piece:

“I draw from film stills that I carefully select. I can only take these

stills after I have absorbed their content. These scenes are

always moments that resonate with me. The core of my work is

biographical but I draw from appropriated mediated images,

sourced primarily from archives, television and film. I believe that

relating to these stories exposes the way in which our desires,

intimate relationships and the way we behave is all conditioned

by culture. By selecting these images I re-expose them, calling

them into question. ‘It's Changed from Something Comfortable to

Something Else Instead V’ is a lyric from the Pulp song 'Live Bed

Show'. I'm making connections between themes in this song and

the imagery I select to draw. For anyone who knows the song, it

gives a second narrative and way to look at the work.”

Ink on Paper

23x 30 x 4 cm


Page 15: Drawing & Printmaking



Southerly Veering South Westerly for a Time, 6 at a time 7

About this piece:

“I am interested in the question of life’s seeming absurdity. The

absurd may make itself known at any moment and this is what I try to

describe in my work; those vacant gestures of silliness, which remind

us that our days are woven with strands of meaningless events. I

record my daily experiences mindful of the idea that life is irrational,

incongruous and illogical. I use a combination of drawing, print and

stop-frame animation to force unexpected visual dialogues into the

same pictorial window, assuming new meanings and narratives

through familiar objects and everyday scenarios. The series of

uncomplicated line drawings, while suffused with playfulness

reference unimportant events and repetitions of everyday life.

Installation: The combination of woodcut prints with stop-frame

animation generates multiple visual collisions between the time it

takes to make the work and the time it takes to see the work. The

slowness of the woodcut drawing sits in contrast to the speed of the

stop-frame drawing, which is static and in constant flux, both

analogue and digital.

Sound: The sound of the animation brings a further complexity, they

are recorded from life and arranged into a compositional framework

tending towards the ephemeral and avoiding the referential. This

creates more ambiguity and the feeling of the absurd is not just

anchored to the line of sight, the low level noises and murmurs

amplifies the multiple contrasts in rhythm and chaos within the work.”

Follow this link for supporting video

Woodcut on Somerset Satin Paper and Moving Image Projection

350 x 280 x 100 cm


Page 16: Drawing & Printmaking



Jolly Jolie

About this piece:

“’Jolly Jolie’ is about the exuberance of happiness.

"What is your most ecstatic childhood/adolescent memory?" From

the answers, twenty-five scenes have been created expressing the

bipolarity within the work and the artist - the gloomy and doleful

black-and-white style of drawing and the euphoric narrative of the

installation. The title plays with the dichotomy of the artist's

language - French and English - and the same resonance of the

word 'Pretty Happy'.”

Black Pen on White Cardboard

625 x 750 x 1 cm


Page 17: Drawing & Printmaking



The Eclipse: Courtship of the Sun and Moon

About this piece:

“This drawing was inspired by a French silent film of the same name,

made in 1907 by director Georges Méliès. The drawing began life

as a collage and the process of making the piece was inspired by

the hand drawn collage ‘Narkissos’ created by San-Francisco

based artist Jess between 1976 and 1991. Jess was inspired by

the myth of Echo in Ovid’s version of the myth in ‘Metamorphoses’. A

curse akin to selective mutism is placed upon the nymph Echo

who is doomed to repeat the last words spoken. Jess imposed

similar restrictions upon his work by only allowing himself to use only

images created by others. Like Echo he overcomes these limitations

by only appropriating elements of the whole that can be used to

express his own ideas. In my piece I adopted a similar strategy and

collaged found images that represented my imagination of the

story into my own configuration.

I have chosen to enter this piece for the Signature Art Prize as it is

the culmination of a month’s work and has inspired a new way of

thinking as well as many other works to come. The work is filtered

through my own perspective whilst referencing an original idea

using other people's imagery. It is therefore a third hand

interpretation of an event, emotion or idea and accepting these

limitations within my practice felt important. On a practical level, it

means I can recycle existing imagery to quickly represent an

abstract thought or feeling.”

Graphite on Paper

59 x 84 x 0.1 cm


Page 18: Drawing & Printmaking



Old Man Mick

About this piece:

“Old Man Mick was a known wanderer of Brick Lane, London. I

befriended him for a couple of hours, where he allowed me to carry

out a few sketches and photographs to work from. Aside from his

somewhat out of sort appearance amidst the East London hipster

scene, I was drawn to him by his choice of head gear. A plastic

Viking helmet was tipped jauntily upon his head, he informed me it

was made in china, a fact he seemed especially proud of. I never

found Old Man Mick again, this piece is a reflection of my strife to

create the truest representation of a man I barely knew, but our

meeting inspired the way for my current art practise.”

Graphite, Pencil and Charcoal on Paper

64 x 80 x 0.1 cm


Page 19: Drawing & Printmaking



WSA Window View

Pen on Paper

60 x 50 x 0 cm


About this piece:

“This collective of small drawings was made for my Fine Art MA final

exhibition. The drawings are fragmented views from the window of

my studio space at Winchester School of Art. I made them in

response to the space. I've been interested in trees and woodlands

for a long time, when it came time to choose my exhibition space

and studio for the final semester of my MA I chose a space that

overlooks the River Itchen and trees.

The drawings are quite delicate in appearance with almost a lace

like quality to them. I draw in a slow and precise way, it's almost like

a meditation. The small circles and shapes make up an image, it's a

practice in mark making.

The six individual drawings are displayed together, the six squares

make up segments which mimic a window, taking me back to when I

made them. They are not framed but simply pinned up on the wall,

when displaying them I didn't want there to be any distraction. The

photographs that I have attached show the drawings individually,

in my final exhibition they were presented along the wall but would

be presented grouped together, two rows of three drawings”.

Page 20: Drawing & Printmaking




About this piece:

“This is an original dry point etching focusing on the relationship

between mother and child in the womb. It is one of a pair. As the

child is facing in towards the mother it could be seen that there is

a positive connection between the two. This contrasts with the

other piece in the pair where the baby is facing away from the

mother. I decided to use the medium of etching as it is delicate

and precise, almost scientific.”

Etching on Somerset Paper

74.5 x 75 x 2 cm


Page 21: Drawing & Printmaking




About this piece:

“’Babel’, which references the Biblical story, is a large charcoal

made during my stay at the artist residency Paul Artspace in the

USA, awarded after my graduation from Central Saint Martins

earlier in June.

In my practice, I aim to explore the tension between civilization,

beliefs and nature. Representing a disintegrating world where

humanity had gone awry, I question the vulnerability of humanity

and its ultimate quest. As monuments get lost through time, these

feral children are left there; aimless, ultimately waiting for a new

order to come, lost between chaotic ruins and wild nature.

Nurtured from various religious experiences through my childhood

in a Catholic family and my travels, I have an obsession for

religious symbolism, questioning the reason and primary quest of

human beings for faith and transcendence.

While there is a sense of fairy utopia nature in my latest body of

work, there is also a foreboding horror, like an ominous and ever-

present conscience pulling us back from the sublime into the

dread reality. I break from the traditional and obliterates selected

details of the figures, replacing them with blurry and expressionless

gestures. The identity of the figure disappears in crowded

compositions, creating a sinister effect of the intimidation of the

unknown. The common place is gone and the mystical is revealed.”

Charcoal on Paper

152 x 108 x 0 cm


Page 22: Drawing & Printmaking




About this piece:

“’Noeud’ is a line drawing that has been edited in Photoshop.

Ambiguities to be supplied by the lines; the decisions that are

made become intrinsic to the work and how it looks at the end.

How much I want each line to be aligned, or how much emphasis I

want to give to certain marks.”

Digitalised Drawing Printed on Gloss Paper

69 x 49 x 0 cm


Page 23: Drawing & Printmaking



The Golden Circle

About this piece:

“The Golden Circle is a large scale ink drawing, based on a

recent road trip around Iceland. It is a sprawling, vast and

dreamlike landscape which roughly maps out areas and

documents my experience travelling. I drew from life and my own

imagination, depicting a detailed, fantastical world, loosely based

on reality. The landscape itself is impossible as I play with scale

and perspective, disorientating the viewer, but at the same time I

allow the viewer to follow repeating and evolving imagery along

lines and interpret their own narrative.

This piece has been exhibited at the Millennium galleries Sheffield,

and the 20-21 Gallery in Scunthorpe.”

Ink on Paper

250 x 150 x 0 cm


Page 24: Drawing & Printmaking



Synergy (Diamonds)

About this piece:

“I am fascinated by visual perception - how the eye and the brain

work together either in harmony or to create tension. I have

created a series of abstract works called Synergy that question our

ideas of reality & illusion. All are created to engage the viewer,

making them part of the effect.

I have created objects that are real and present where the illusion

of movement is transitory and apparent. As the viewer moves

around the piece the image appears to change and move. Each

work explores a different effect - with this piece, the idea of

iridescent colour change and movement. The works are created

with a printed back layer (with this piece a digital print created

using anaglyph techniques) and a front grid of laser cut Somerset

Velvet paper.

The images attached are of one work - but show the change in

colour when the viewer moves from side to side.

The price given is for the work framed with non-reflective art glass.”

Digital Print with Laser Cut Somerset Black Velvet Paper

50 x 50 x 3 cm


Page 25: Drawing & Printmaking




About this piece:

“I have always been interested in using the human form in my work. I

find nothing more compelling than a portrait, in all forms. An ancient

painting, a contemporary sculpture a modern installation. I however

almost exclusively use the medium of drawing in my work, as I feel the

meticulousness and time spent in creating a pencil portrait is

appropriate to the subject matter. A person is a multi-faceted,

curious and fascinating creature and taking the time to put every

physical feature in place is a process duly fitting to the subject, I feel.

But a person is not a perfect beast, and at the end of drawing the

piece, I blow tendrils of jet-black ink on the portrait- sometimes

completely ruining the work- just to nod to the unpredictability of a

human being.

I find the process of drawing a face incredibly therapeutic. The tiny

details added at certain points can completely define the overall

feel of a drawing. An infinitesimal patch of shading around the mouth

can change the face from a smile to a grimace or a frown to a look

of concern- and this completely absorbs me. Creating complete

characters from a few patches of graphite pencil on paper. Showing

a captured moment in time from a person’s life just from a couple of

carefully placed lines. I often become very attached to the pieces I

generate, and this care is something I want to emulate through the


People are precious, they are loved, and every human being in this

world is important, regardless of age, sex, gender, religion or race. It

is this value for life that I wish to show in my work, and this project has

always been grounded in human significance.”

Pencil, Charcoal, Ink on Paper

29 x 42 x 0 cm


Page 26: Drawing & Printmaking



Expansion II

About this piece:

“This piece was developed over a series of months working with

the simple object of a piece of paper. Through destroying it,

crumpling and transforming its shape into something three

dimensional, it was then flattened again through the screen print.

The paper has been expanded into an object in and of itself,

creating movement and depth, tension and release. There is a

juxtaposition between the fragmentation of the image and the

order it demands from the methodical technique of silk screen-


Acrylic and Screen Print Medium

84 x 119 x 0 cm


Page 27: Drawing & Printmaking



The Guardian

About this piece:

“The artwork was made in response to my grandfather almost dying, I

wanted to capture this point in his life and have him face his own

sudden fragility. I was inspired by the story of Constantine The Great

who had a 40ft statue in Rome, which was destroyed when the city

was pillaged. The only remnant of this once colossal figure is his

head. This sense of a noble man brought to his knees is what I

identified with and how I wanted to portray my grandfather, it is both

a fragmentation of his self and memories.”


150 x 200 x 1 cm


Page 28: Drawing & Printmaking



A Parliament of Owls

About this piece:

“Painting, printing, drawing, embroidery and sculpture;

for me this piece is all of the above. My language is the thread, this

is my medium. The stitches become the narrative. I have inscribed

eyes, eyes that I was drawn to when looking at a parliament of owls. I

am inspired by all things tangible, the loose thread insinuates an

incompleteness but to me it represents ambiguity.

The history of embroidery and the feminine is recurrent within my

studio work this year, and this work was produced for my painting

elective, where we investigated the concept of a painting, paint,

and painter. The oil paint was applied to a board and then printed

by rolling over the fabric with a roller, and then it was stitched into.

Originally the work began on the opposite side but I was more

enthralled by the back where the paint had bled through as it was

much more subtle and offered more space to embroider the many

eyes into the Muslin sheets.

I am very happy with this piece and think it looks best attached

directly onto a wall, it shouldn't be framed because then it becomes

a piece similar to what girls were made to produce many decades

ago to keep them busy. I am completing these embroidered pieces

for my own pleasure of keeping busy, no one has forced me to make

this, and I think there is a beauty in that, of wanting to stitch, and not

worrying about tying off ends and framing the piece produced.”

Muslin, Cotton Thread, Oil Paint

73 x 92 x 0.2 cm


Page 29: Drawing & Printmaking



3 Minutes

About this piece:

“This piece was made in response to the listed WW2 hangar situated

at Brooklands Museum in Weybridge Surrey. It depicts the connection

between places and people. There was a fine balance between

entrapment and security within the buildings. The work carried out by

the young women on the Wellington Bomber involved danger but

also lionheartedness. Unfortunately, many of the women were often

oblivious to their contribution or worth in the war effort. The work uses

the original canvas used in the restoration of the Wellington Bomber,

only two of its kind left in the world that saw active service. “3

minutes” signifies the amount of time it took for Brooklands to be

bombed during the war when 83 people died. This is one of four

pieces, which was displayed earlier this year in the actual war bunker

next to the hangar. This piece signifies the fragility of connections.”

Archived Photograph, String, Canvas

29 x 24 x 2 cm


Page 30: Drawing & Printmaking



Seeing is Believing

About this piece:

“This is a laser cut wood cut on birch plywood. Is has its origins in a

small graphite powder drawing that was a response to a found

satellite image of the lost Malaysian Airlines Flight last March. The

image resonated with me as it was pixelated and obscure, yet it

claimed strongly to identify the wreckage, which appeared as a few

white and grey marks on a vast dark ocean. However, the plane has

never been found, nor have traces of the wreckage. The vague

drawing was entirely fabricated and invented by me. The fact that

something could disappear without trace, and defy today's satellite

and scanning technology impacted on me deeply.

This piece is my 2015 Signature piece as it marks a turning point in

my practice. I have used scanning and the modern technology of the

laser cut to create an entirely fabricated image which sits in many

realms, an object in the night sky, an ultrasound scan, a satellite

image. It is searching and grasping both conceptually and formally.

The dialogue of using a non-traditional woodcut technique on the

traditional medium of birch plywood has opened up a wealth of

possibilities for me. This presented me with challenges both in the

cutting and printing from which I have learned new ways of making

which tie in conceptually with my ideas. It marks a way forward as I

begin to think about my final show at the Royal College of Art in

June 2015. It has inspired and changed my practice while sitting

comfortably within my way of making and conceptual interests.”

Japanese Paper, Deep Space Ink. AP (Artist Proof)

162 x 117 x 0 cm


Page 31: Drawing & Printmaking


Lino Cut, Bronze

73 x 110 x 2 cm




About this piece:

“Maps hold power, or inherit it rather. Taken as truth, it lays out a city

in a plain, comprehensive system of streets names and crossroads.

The holder of the map adopts expansive dominion over an area with

a moment’s glance. It indulges the viewer and lifts him up:

Cartography is synonymous with voyeurism. And yet despite this

authority we imbue, these lines began as mere conjecture etched in

by explorers as wind patterns and inappropriately scaled kingdoms

bordered by large expanses of unexplained unfamiliar “Bavaria,” and

a whole world comprised only of two continents. This project was an

exploration into the abstraction and de-familiarization of


I am interested in this modified topography of space: The fractured

momentary outlines that repeat and run a city. The urban has

become synonymous with the continuous and shifting, and thus the

rules we construct to navigate such impossible borders.

‘Topographics’ is composed from blind contours derived from

elevation maps of different city borderlands—Florence, London, Hong

Kong, Vancouver, and Paris—transferred onto lino cut plates,

moulded and finally cast in bronze as reliefs. These plaques can be

rearranged at will, allowing for new cities, borders, and landscapes

to be discovered. The piece was then created into an edition of 10

by digitally scanning the plaques and 3D Rapid Form printing each

piece which were then electroplated in bronze. The material

transformation within this piece represents my attempt to chart such


Page 32: Drawing & Printmaking




Copic Multi-liner Illustration Laser Etched into Cherry Wood

187 x 17.2 x 0.3 cm


About this piece:

“This was the piece I exhibited at my first solo exhibition during the

summer in Berlin. The piece is a personal interpretation of the major

arcana picture cards from the classic Tarot playing card deck. The

imagery takes inspiration from occultism and 18th century mysticism

with a twist of Memento Mori motifs such as skulls and bones. Each

image has been laser etched into a cherry wood panel reminiscent

of the etched wood blocks used to print illustrations in early forms of

printing. The cards are designed to be functional in tarot card

readings with symbolic elements directly relating to the original

meanings of tarot used for divinatory purposes. The cards work

aesthetically in union with each other. Themes and motifs are

repeated throughout the deck and when exhibited together they

combine various illustrative techniques to produce beautiful textures

through laser etching. I encourage people to touch them which is

often a faux pas in gallery exhibitions. As tarot cards are meant to

be handled I want the same for my cards, I want a sensory response

to the texture of the wood, not just the symbolic imagery. For this

reason I chose wood instead thick card or paper illustrations.”

Page 33: Drawing & Printmaking



Abasement of Morality

About this piece:

“Nowadays fashion is much more than just clothes. Fashion designers

are able to create fantasy worlds with their works to escape the

drab monotony of everyday life. Through this they serve the humans

craving for escapism but convey as well a dangerous, idealised

idea of beauty. Nevertheless the fashion industry works with

euphemistic marketing and obscures its frequently tough, slave-

driven aspects.

My submission illustrates the abasement of morality in our today’s

society in regard to abusing the desperation of less privileged

populations. We are aware of the circumstances some of the low

cost fashion is produced in but accepting this exploitation of

labour for the benefit of cheap clothes. In my image the spoilage of

the oranges and its vanitas symbolism illustrates this topic –

beginning with the orange blossom symbolising innocence and

ending with the by maggots infested orange symbolising the loss of

that innocence.”

Giclee Print on Hahnemühle Photorag Fineart Paper, Digital Collage of Mixed Media Drawing and Painting

58 x 76 x 0.1 cm


Page 34: Drawing & Printmaking



Dreaming for Peace

About this piece:

“The idea which came to me whilst dreaming, reflects the concept of

childhood and the imagination.

All things are possible to a child, until an adult tells them is isn't. This

illustration represents belief beyond human understanding. Faith

beyond human logic.”

Watercolour, Pen

29.7 x 42 x 0 cm


Page 35: Drawing & Printmaking



An Illegal Urban – Taipei City

About this piece:

“My work incorporates spaces which can be viewed as potential

sites of an event that has happened, or is just about to happen.

This signature piece reflects my interests in uncanny resonance –

perhaps both abject and beautiful at the same time.

I’m concerned with the ambiguity of communication; what we choose

to say and not say, choose to remember and to forget – leave out,

turn a blind eye to, and events we imagine, embellish and invent.

I use both self-generated and found images. I have used three self-

generated images in my signature piece. I manipulate pictures

manually and digitally, working with overlapping textures, marks and

colours, resulting in an enigmatic, timeless quality.”

Giclee Ink Jet Print on Hahnemuhle 310 GSM Paper

60 x 84 x 0 cm


Page 36: Drawing & Printmaking



Flux Waves 1

About this piece:

“Instead of using computer generated compositions, I use my own

intuitive algorithms to explore and stretch the limits of the mind.

There comes a point in Flux Waves where I being human could no

longer see the path, as a result I let the line take charge and guide

me, therefore allowing the lines to merge with each other in a

synchronistical manner. It was as if the Line defined its own path.”

Indian Ink on Mount Board

86.5 x 117 x 4 cm


Page 37: Drawing & Printmaking



Apocalypse: 16.05.14?

About this piece:

“Water and paint colliding, creating chemical reactions and chance

happenings, where pools, stains, marks, harmonies and conflicts share

the same surface. Lines of graphite, ink and acrylic emerge from the

chaos, serving to define and form the space on the picture plane. A

drawn black outline resembling a tiger is seen, wraith-like, through

skeins of paint, its totality fading, covered by the bright colours that

resonate around it. From afar the abstract marks can appear to follow

natural forms as if a landscape, where the planes of washes blend

together. In some instances contour lines have been drawn beneath

the sedimentary manifestations, relating material relationships to the

natural world. Other detailed images, often digitally abstracted and

hand copied in carbon or graphite from media sources, can be seen

when close to the picture-plane. These are connected through varying

lines, glances and actions and situated based on their hypothetical

ties and the material surface of which they interact. The connections

can be hard to follow, the images frequently obfuscated by the

dominant flat paint. The monumental scale of the paper creating an

embodied experience; a vast field of tension between flatness and

illusion where close-up the details of the picture escape the periphery,

engulfing the viewer with a bombardment of information.

My practice stems from a strong interest in the over-saturation of

images in contemporary society, including their circulation and the

influence this has on creating pictures. I use a multi-disciplinary

approach to image making to investigate my interest in different ways.

My current focus has been on my drawing practice which has recently

blended into the realm of painting; exploring mark-making, when line

becomes splash becomes spill.”

Mixed Media on Paper

370 x 240 x 0.1cm


Page 38: Drawing & Printmaking



Wire This, Tesla!

About this piece:

“The main drawing is one of the sixty drawings I presented as part

of my graduate work at Academy of Fine Arts, where the passion

and love for theatre and drawing were merged in one. There are no

boundaries in the theatre, as well as drawing.

The paper becomes a stage moulded by the actors of lines and

shapes and it is a living tissue. Drawings become some stolen

moments and stopped time. Some drawings represent my dreams

that are my personal performance of which only one small piece is

materialized and placed on the paper. They are the sketches of my

dreams. I do not interfere more in it, I do not try to transfer it on a

larger format or test it how will the drawing look like in other

techniques. I don't add anything. This scene is over. Here, a so

called production B, becomes what is most important and original. It

carries an aura because it is the first and authentic.

The words or sentences I use are generally determined before or

during the process of drawing and they are treated as a part of

the drawing. The base in my art are children's drawings and

prehistoric drawings which are deprived of any academic training

and without affecting an adult, already shaped mind. Therefore I

draw with my left, primitive hand instead my right hand with which I

usually write. As I let my thoughts to flow where they want, I also let

my left hand to make all the 'errors' which have added more

spontaneity to my drawing. The hand is free from accuracy, security

and supervision. I tend to always accentuate the drawing, the basis

of everything that is slowly vanishing because of accessibility and

popularity of new media and new options provided with them.”

Paper, Pencils, Ink, Watercolours

46.5 x 32 x 0 cm


Page 39: Drawing & Printmaking



Unending Scroll

About this piece:

“What interests me is the complex relationship which Nature has with the

ever expanding technologically advanced lifestyle and urban

landscape and the way they coexist. Currently I am interrogating some

extreme scenarios where humans are controlling and violating nature

to a point of reduced diversity and extinction. Thus my art raises

various political and social concerns in terms of wanting to preserve


I challenge drawing at every step in my practice and thus it has

become an essential medium to convey a message. I try to push the

boundaries of drawing by using it in a form of installation which

enables the viewer to experience my artwork while sharing a common

physical space. My drawings often are in the form of a narrative .Also

the intricate details in my drawings invites the viewer to come closer to

the subject, thus creating an intimacy between the viewer and the

work. Repetitiveness at this scale makes my work extremely laborious

and time consuming. This style of working helps me to meditate in my

own ways and helps lower down my anxiety, which I usually suffer from.”

Permanent Ink and Watercolour on Gateway Paper

70 x 305 x 0 cm


Page 40: Drawing & Printmaking




About this piece:

“We all share the same spaces, past and present.” My inspirations come

from the mysteries of the universe, our incredible world and origins of

life. I question the scientific and spiritual elements of our existence. I am

interested in the passing of time, journeys of life and memories that we

pass on through our cultural traditions.

I use various materials to create my work including dye, ink, bleach,

water, ice, vinegar, metal (rusty objects), cyanotype (light sensitive

chemicals) and pyrography (writing with fire). I primarily use cotton

cloth as a support. I usually create my work outdoors, which engages

me with the natural elements; the scientific aspect of the climate is

significant to the outcome of the work. The sunshine, ice, rain and

temperature all play a part in how the work develops. I feel that I am

connecting to a source of power, touching on alchemy in my work.

When I am creating I am on a journey, I allow my impulses to guide my

experiments. I am moving forward and learning, I am captivated by the

biological elements that contribute to my work but also I am

intertwined with the unknown which feeds my curiosity and helps me to

understand my spirituality, our past and the sacred in our cultural


Rust Print, Pyrography and Dye on Vintage Cotton Cloth with Metallic Textile Backing.

40 x 40 x 3 cm


Page 41: Drawing & Printmaking



With or Without Aura 2

About this piece:

“This piece is a continuation of experimentation from my practise at

university. My art is based on medical conditions that intrude and

alter our experience of the external world. The need to capture or

translate a purely sensory experience is an impossible task. One of

the main reasons for this ‘impossibility’ is that each experience is

subjective, no one experience to a sensory trigger be it a piece of

music, colour or imagery will have the same effect to everyone’s

experience and reaction. This is because we are constantly recalling

on an unconscious level similar situations and experiences to help us

approach the trigger of the sensation in the same way.

This ‘impossibility’ is important in my work because my subject matter

has been trying to translate the visual obstructions that manifest

during the medical condition - the migraine. This is mainly collected

from my own experiences of this condition, at the start is was driven

from my own understanding of what the experience I was having felt

like and the impossibility of finding the right descriptive words to

relate it to others to truly understand. I fully understand this type of

experience is truly subjective as the experience is internal and

something only I can see. I fully believe that I can never create a

‘true’ translation of this experience but my drawings act as a type of

archive of shapes and patterns that appear in my vision which help

to try and capture a close replacer of the essence of the movement

and nature of the visual obstructions.”

Pen and Paper

42 x 59.4 x 0 cm


Page 42: Drawing & Printmaking



Paradise HP2

About this piece:

“My practice explores ideas of paradise in relation to landscape,

reward and transformation. I have been visiting locations called

Paradise to take photographs which I then respond to in my work.

This work responds to the Chapel of Rest found in Paradise Industrial

Estate, Hemel Hempstead. It is a soulless building in an

unprepossessing area. I used etching to add history and iridescent

interference pigment on the windows to give an otherworldly quality

to a place for souls to rest.”

Soft Ground Etching with Chine Colle and Interferance Pigment on Pescia Grey Paper

42 x 59.4 x 0 cm


Page 43: Drawing & Printmaking



Quantum Flux String Vibration Field

About this piece:

“A drawing intended to show motion and also the idea that time is

not necessarily real; there is no past or future, just the moment you’re

in. I like to think of this drawing as representing quantum

entanglement in some way.”

Graphite and Various Rubbers

50 x 69 x 0 cm


Page 44: Drawing & Printmaking




About this piece:

“Artists' block is a big factor within every creative’s practice. This

piece was the beginnings of a project documenting my frustration

with this, developing into an exploration within the everyday emotions

we go through as people within society. This was one of the first

pieces where I felt I truly embraced my method of working in a strong

contextual sense.”


30 x 40 x 1 cm


Page 45: Drawing & Printmaking



Niagara Falls VII (a)

Screen Print on Paper

71 x 71 x 2 cm


About this piece:

“This piece comes from a larger series of works concerned with the

use of photography by tourists and the effect this has on the

destination or event and the images that proceed it. More broadly,

these are technical images being images extracted from the system

or program within which all such images now circulate. I use print to

recover or fix these images as they circulate endlessly in an inchoate

state, always available but never resolved being subject to

distortion, fragmentation and recombination.”