Curated by Marianne Walker
Aileen Harvey
I make semi-abstract landscape drawings, using earth and plant pigments on salvaged surfaces. Gestural marks collaborate with the expressive vitality of the materials. In-betweenness interests me – _including how drawing strays into other fields.
Chantal Powell
Dragon’s Womb is a tin cast from a bioturbated shoreline rock, whose surface bears a natural drawing made by ancient marine burrowing. Channels and cellular traces suggest oceanic memory, bodily rhythms, tidal movement and proto-biological life.
Hans de Wit
Courtesy of Hans de Wit and Jonathan Marchant Gallery
Kethevane Cellard
Kethevane Cellard (b. 1975, Paris) explores the mindscape of our relationships to self, others, and surroundings. Working across ink drawing, wood sculpture, and 3D printing, she creates hybrid forms that weave the ancient with the contemporary.
Mat Chivers
Roland Hicks
Russell Herron
‘Self-Portrait As A Fallen Leaf’ proposes a scenario: what would it look like if I were a fallen leaf? It’s a self-portrait about how we fit into our surroundings and how we stand out.
Theo Michael
Arianna Tinulla Milesi
"First day. No language, no names. A pencil, a smile and everything unmade. Again and again, as life begins, redrawing, reimagining every bond, structure and desire".
Chloe Briggs
John Stark
‘Death Chilling in the Woods’ is a Memento Mori, a reminder that we will die, and that death lies waiting for us all. This humorous and dark drawing is a funny way of being serious.
Marianne Walker
My three-dimensional drawings evidence my interest in the very human need to produce devotional sculpture. My objective is to push the two-dimensional medium of drawing into becoming a three-dimensional entity that can confront a viewer.
Min Angel
Min Angel works between painting, drawing and objects. She is interested in touch, noticing the quickening of our senses, considering the elemental and the ephemeral and exploring the non-visible, non-verbal alongside the visible. Her art practice is informed by the experiential, emotions and sensations, art history, Zen meditation and Qigong.
Sarah Praill
The sensation of the tool and how it feels on a surface has been a driving force. Assyrian inscriptions, cuneiform spells or the incisions on a Neolithic pot speak through touch, carrying presence across time.
Zoe Dorelli
Zoe Dorellli’s current body of work continues her lifelong fascination with ancient myth. Using traditional drawing techniques to study the work of classical sculptors and explore how narrative can be embodied in the human figure.