I believe that drawing is a fundamental requirement for image making.
My work is varied, using the media of drawing and painting but I have a passion for portraiture and printing.
I love drawing on the grey surface of a linocut with charcoal and chalk and the physical process of cutting warm, fresh lino with sharp tools creating a variety of marks to create the lights and darks and depths and volumes gives me great pleasure. Using watercolour to paint on glass and transfer the marks to paper is always thrilling when a monoprint appears as though by magic.
Narrative does feature in my work but portraits and the people in them really excite me. Each person is so individual and with a story of their own which hopefully I render truthfully in paint, drawing or print.
Julie Ann Steward
Since recently completing an MA in Fine Art at Middlesex University, drawing has become the main focus of my art practice. I am particularly interested in drawing in response to the atmosphere and energy within a site and in uncovering vestiges of an earlier time or previous use. I like to work in places in transition, in the midst of life in motion or while moving through a space, so walking too is an integral part of my practice.
Surprise Extra Mystery Brixton Super Pigeon
Fixing me with his beady eye, it was as though I could hear the words. Come closer over here missus and untie this nasty old thing from my leg. So, being of strong heart and unbalanced mind I stepped over cables and shoes, wobbled on one leg on top of a pile of drawings which should have been elsewhere and with hesitating fingers unpicked the hobble of fine hair and dirty string that had gathered about his knees.
Driven by curiosity, I've got a particular fascination with paradoxes. I like to explore the uncertain areas between defined borders and conditions, such as entrapment and protection.
My work is moving towards being predominantly site-specific installation as I enjoy the challenge and restrictions this way of working can impose.
My background in design, illustration & coding continues to inform my practice with recurrent themes exploring line, frame and space.
I make instinctively constructed objects from lead, wood, canvas, concrete or everyday objects. The work is inspired by half-dreamt, half-remembered ideas and sensations. Documentation is an important element: online, in notebooks, and with photography.
Daniel Bristow-Bailey is interested in technical drawing and perspective, used as a tool to attempt to make sense of on the real and imaginary worlds we live in. He's particularly interested in what happens when these processes go wrong or fail, and what these failed drawings might say, by analogy, about our failed attempts to make sense of the world around us. He's inspired by the slightly boken landscapes and muted palettes around suburban West London, where he lives with his wife.
Janie Kidston is an artist and printmaker. She trained previously as sculptor and ceramicist at Camberwell College of Arts where she is currently studying for an MA in Printmaking. Her work has evolved from a multitude of contrasting visual themes that investigate the physical nature of printmaking and drawing. Much of the work explores drawing with shadows, reflections and halos. Her work forms part of an ongoing exercise around contemplation, abstraction and non specific imagery.
My work explores the boundaries, frivolities and hybridities of visual culture. I use my art practice as a tool for researching and developing theory surrounding an experience of my physical surroundings as well as the world with which one engages through mediated sources. I am predominantly interested in creating an intermingling of visual stimuli from different cultures, which also borrows from or references various art histories; such as Super Flat, Japanisme, pre-Raphealite, realism, street art and art nouveau. I am interested in what reaction; feeling and critical context the mixing of images can produce.
My current paintings explore a sense of being engulfed by nature, of living in a world parallel to reality; using imagined elements to create an appropriated sublime.
Michelle studied painting at Slade School of Art, and printmaking at Wimbledon School of Art. She is owner/ director of SLAUGHTERHAUS Print Studio and Head of Printmaking at Morley College, London. She has work in private and public collections including Chelsea and Westminster Hospital, Orchard Solicitors, and etc limited, London.
The work is about landscape, ranging from looking at the whole, to the minutae of a particular place, and the artists’ place in that environment. Recent work has focussed on tiny parts of the landscape- small stones on the beach, or the crack between rocks, or a weed growing in the pavement.
Deep down I am a photographer but I am also a printmaker and all round tinkerer and rethinkerer as part of my Art. I scavenge what I can and make what I need.
10 artists / 10 hand-printed photo-litho prints / 10 x 10 inches / tiny edition of 10
by diningroomdrawingclub for the Brixton Drawing Project
Passionate about drawing, I create elaborate situations to facilitate it, via diningroomdrawingclub. We find interesting buildings and/or connections, invite people, and draw for a set period of time. Whatever happens is then exhibited to great fanfare. Variously described as site-specific, immersive, frightening and exhilarating, our events are never predictable. So much so that I never manage to draw a thing, and so am forced to diddle about making bears out of my friends in my own time, in the studio on my own.