Thursday, 25 August 2016
Wednesday, 24 August 2016
Man photographing stars by Thomas Treherne
Congratulations to Thomas Treherne (Drawing Year 2015) and Sam Little (Drawing Year 2016) who have both been selected for this year’s Jerwood Drawing Prize. Thomas’ drawing Man photographing Stars, previously exhibited at Christie’s London in 2015, will be part of the exhibition, which opens on 14 September. Past Alumni selected for the Jerwood Drawing Prize include Carl Randall, whose work 'Notes from the Tokyo Underground' (pen on paper) was exhibited in 2012.
The Peanut Factory by Michael Chance
Micheal Chance (Drawing Year 2013) has a solo show coming up at Mercer Chance, in Hoxton. Body Politic opens on 1 September at 7pm and continues until 19 September, open Sat, Sun, Mon 11am-6pm. More info here.
Kathryn Maple (Drawing Year 2013) and Jessie Makinson (Drawing Year 2012) have drawings in an exhibition at Beers Gallery near Old St, London. 35 Works on Paper continues until 24 September 2016. See an extract from the press release below:
Thursday, 18 August 2016
Geraint Evans: EDGELAND
Preview: 5th August 2016, 6pm – 9pm / Open until: 29th August 2016
Penarth Pier Pavilion, Penarth, CF64 3AU
Artist talk: Saturday 20th August, 1.45pm, Free, open to all.
Drawing Workshop: Sunday 21st August, see website for details
Walk & Talk: Wednesday 24th August, 2pm, Free, open to all.
A major exhibition of drawing, installation and sound from recent Royal Drawing School Alumnus Geraint Evans: Edgeland. This is the first solo exhibition from Evans since completing the postgraduate diploma at the prestigious school where he now teaches as part of the Drawing Clubs Faculty. For Edgeland, Evans presents a focal installation, comprising of sculpture and sound with a burnt out car as the central piece: ‘Monolith (horizontal)’. This semi-autobiographical, multi-sensory installation delves into personal memories of childhood playing in a scrap of woodland that backed his estate in west Cardiff. The work explores the notion of destruction as a form of creation and considers what it takes to break the negative social cycles of estate life. The nowhere bits of scrub-land that lies between where our cities become more dilute and our countryside begins is where you will find the Edgelands: spaces as transient, evocative and visceral as memory itself. Many of the drawings are largescale and site specific, often done entirely from observation. These in situ sessions are aided by listening to sound while working via headphones plugged into a microphone, intensifying the sensory connection to the place. Evans’ work is built around the central concern of the individual’s experience of genius loci, in both the political and physical geography of place.