The Resilience of Drawing Symposium – 11 May 2016

Resilience of Drawing talk

The resilience of Drawing Symposium to launch the Centre for Drawing Online Archive


Press Release:

How does drawing continue to remain so significant a form in our Post Digital age?

Join artists and curators Rachael Whiteread, Mary Doyle, Hillary Mushkin, Tim Knowles and Angela Kingston for a symposium exploring the resilience of drawing in our Post Digital age, chaired by Tania Kovats.

Drawing continues to offer compelling visual communication across a range of creative disciplines operating as a shared place maker, build bridges between thinking and making, and a resilient form of deep human interaction.

This event also marks the re-launch of The Centre for Drawing: Wimbledon and an associated digital archive of the Centre’s previous activities. The Centre for Drawing was the first specialist drawing centre in the UK and has a unique place in the story of how drawing has moved from the peripheral to an expanding field in its own right.

Speaker biographies:

Angela Kingston is an independent curator and writer who set up The Centre for Drawing in 2000, where she coordinated a series of residencies and publications. She will present her thoughts on the context for the Centre for Drawing arose out of surge of drawing activity in the 70’s and 80’s that took a marginal activity and placed it more centrally.
Rachel Whiteread is undoubtedly one of the UK’s most important artists with a global impact. Turner Prize winner in 1993, though primarily a sculptor, her drawing practice remains the diary of her thinking, and has been the subject of publications and exhibitions at the Tate and internationally, in their own right.

Mary Doyle is co founder and Co Director of Drawing Room, the only public non-profit exhibition space dedicated to promoting and exploring contemporary international drawing within the UK and Europe. She will discuss the activities and agenda of Drawing Room.

Hillary Mushkin is an artist based in California. She will be discussing her project Incendiary Traces, an ongoing investigation of the role of landscape imagery in international conflict through on-site public “draw-in” events, research and publication of related materials with diverse contributors.

Tim Knowles is a UK artist with a post studio practice that engages with an experimental approach to drawing in response to elemental factors. His drawing are made through journeys; organising collective walks directed by winds; or by attaching drawing implements to the tips of tree branches.

Chair: Tania Kovats. Kovats work is primarily sculptural, working both nationally and internationally, with many commissions in the public realm. Kovats has previous published her reflections on drawing in ‘The Drawing Book: Drawing as the Primary means of expression’, and ‘Drawing Water: Drawing as a mechanism of Exploration’. Kovats is Course Leader of the MA Drawing course at UAL London.





Rachel Whiteread



Rachel Whiteread


Resilience of drawing

Rachel Whiteread



A Drawing Room event



A Contributor to Hillary Mushkin’s ‘Draw In’ Event



A Contributor to Hillary Mushkin’s ‘Draw In’ Event



Tim Knowles



Tim Knowles



Tim Knowles



Tim Knowles



Tim Knowles


Wonderful Symposium on the Resilience of drawing. The mix of curator and artist made for an interesting conversation and perspective from creating the work to showing and promoting it.

Particularly enjoyed the talks of Rachel Whiteread, one of my favourite artists and Tim Knowles.

The former’s work is well documented but it was particularly special to hear her talk so intimately on how she works and thinks.  It was interesting to hear her say how colour confuses her and as such will avoid colour decisions by using white, as on her studio walls, or using other people’s colour choices as in collages.  She uses drawing to think and said  “Drawing is in my hands, in my thoughts and in my heart”.

I also liked Whiteread’s, thoughts on the Trafalgar Square plinth project.  The idea grew out of what the Square needed most… ‘Peace and Quiet’.  Hence the clear resin, inverted plinth she created.  That same peacefulness was created in the resin ‘One Hundred Spaces’ work.  I saw this work at the RA with the sun coming through the skylight and hitting the different resin blocks (negative spaces of chairs). So Beautiful.

Tim Knowles practice has a ‘mad’ Englishman’s quality to it. Producing work of great beauty and serious thought often by idiosyncratic and humourous means.  Tying pens to trees. getting smoke to exit lamp posts and pursuading people to wear eccentric head pieces and wander around to all appearances in a random and eccentric manner.

His practice is about relinquishing control and by doing so he allows the wind, nature, gravity and human kind do the work for him.  It may look easy but coming up with the concept, I’m sure is not simple.


My Notes from the talk:

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