Professional Documents
Culture Documents
WeAllDraw
68November2015
Bargehouse,OxoTowerWharf,BargehouseStreet,SouthBank,London,SE19PH
WeAllDraw
Contents:
Welcomemessage
Floorplans
Guestpanelists
Timetable
Listofconcurrentworkshops
Fridayactivities
Saturdayactivities
Sundayactivities
2
3
4
5
12
34
CoverimagecourtesyofYoonBahk.
WeAllDraw
WelcometoWEALLDRAW!
Wehaveapackedprogrammeforyouthisyear,with1film,2exhibitions,3masterclasses,5guestperformances
andinterventions,26workshopsandapanelofguestexpertstounpacktheproceedings.Pleasemakesureto
signupeachmorningfortheworkshopsyouwanttoattendtoavoiddisappointmentasplacesineachoneare
limited.
Ourvisionforthesethreedaysisforeverybodytohavetheopportunitytotryneworunexpectedwaysof
drawing.Wehopeyouenjoytheexpansiverangeofpracticesandapproachesonofferandconnectwithmany
colleaguesfromaroundtheworldwhoshareourbeliefintheimportanceofdrawingandvisualisationfor
learning,research,collaboration,wellbeingandcollaborativethinking.Wehopeallofyoufindsomethingyou
cantakeawayanddevelopintoyourownpracticeorteaching.
Weencourageyoutotapeyourdrawingstothewallsduringthesymposium,sothattheyaccumulateoverthe
threedaysandactasacatalystfordiscussionandconnection.Wealsoencourageyoutotakeyourdrawings
homeattheend,aswewillnotbeabletokeepholdofthemafterwards.(Anydrawingsformallysubmittedto
theexhibitionswill,ofcourse,bereturnedtoyouwithduecare.)
Ifyouwish,youcanfollowourtwitter,instagramandfacebookfeedsduringandaftertheevent,whichwillbe
updatedbyourdedicatedsocialmediateam.Pleasefeelfreetocontributeyourphotosandcomments,andto
sharewithotherswhocantmakeit.
WewouldliketoextendspecialthankstoTaniaKovats,KellyChorpeningandErinWeirsmawhohavecuratedthe
twoexhibitionsonshowthisweek,toMalcolmQuinnofCCWGraduateSchool,toSimonBettsofWimbledon
SchoolofArt,toChrisOwenofCambridgeSchoolofArt,toJudyBurtonofTeachersCollegeColumbia,andto
KateMasonandtheCampaignforDrawingteamfortheirendorsementandsupportofouractivitiesthisweek.
Wearealsodeeplygratefultoallofyouwhohavetravelledtheglobe,armedwithpencils,toshareyourideas
andpracticeswithallofus.
MichelleFava,AngelaBrew&AndreaKantrowitz
WeAllDraw
WeAllDraw
OurGuestPanelists:
BarbaraTversky
isaProfessorEmeritaofPsychologyat
StanfordUniversity
andaProfessorofPsychologyand
Educationat
TeachersCollege,ColumbiaUniversity
.Tverskyspecialisesin
cognitivepsychology
.Sheisaleading
authorityintheareasofvisualspatialreasoningandcollaborativecognition.Tversky'sadditionalresearch
interestsincludelanguageandcommunication,comprehensionofeventsandnarratives,andthemappingand
modelingofcognitiveprocesses.BarbarareceivedaB.A.inPsychologyfromthe
UniversityofMichigan
in1963
andaPh.D.inPsychologyfromtheUniversityofMichiganin1969.ShehasservedonthefacultyofStanford
Universitysince1977andofTeachersCollege,ColumbiaUniversitysince2005.ShewasnamedaFellowofthe
AmericanPsychologicalSociety
in1995,the
CognitiveScienceSociety
in2002,andthe
SocietyofExperimental
Psychology
in2004.In1999,shereceivedthe
PhiBetaKappa
ExcellenceinTeachingAward.Tverskyisanactive
andwellregardedteacherofpsychologycoursesatboththeintroductoryandadvancedlevel.Inaddition,
Tverskyhasservedontheeditorialboardsofmultipleprominentacademicjournals,including
Psychological
Research
(19761984),the
JournalofExperimentalPsychology:Learning,MemoryandCognition
(19761982),the
JournalofExperimentalPsychology:General
(19821988),
MemoryandCognition
(19892001),and
Cognitive
Psychology
(19952002).
JudithBurton
isProfessorandDirectorofArtandArtEducation,ColumbiaUniversityTeachersCollege,NYC.
BeforethatshewasChairofArtEducationatBostonUniversityandtaughtattheMassachusettsCollegeofArt.
ShereceivedherEd.D.fromHarvardUniversityin1980.Herresearchfocusesontheartisticaesthetic
developmentofchildrenandadolescentsandtheimplicationsthishasforteachingandlearning.In1995,she
cofoundedtheCenterforResearchinArtsEducationatTeachersCollege,andin1996,shefoundedtheHeritage
Schoolacomprehensivehighschoolfeaturingthearts,locatedinHarlem,NYC.
VinodGoel
originallytrainedasanarchitect.However,unabletodeveloptheskillstosketch,drawandvisualize
inthreedimensions,andmesmerisedbyseveralbooksbyNicholasNegroponte,hesteppedoutsideofthefieldto
tryandfigureouttherelationshipbetweenmindanddesign.HeeventuallyendedupatBerkeleywherehe
studiedphilosophy,computerscience,andpsychologyandcompletedaninterdisciplinaryPh.D.incognitive
science.Vinods1995text
SketchesofThought
challengedcomputationalparadigmsincognitivescienceand
addressedtheindeterminateandnonpropositionalaspectsofourthinking.
WeAllDraw
FRIDAY
10am
12.30
1.15
1.30
3.45
4.30
Registrationopens(lunchwillnotbeprovidedonFriday)
Warmupactivity.ZenofVoicetunein:Apreparationfordrawing,enliveningandhoningthe
sensesthroughthesingingvoicewithStefanCartwright
Welcome
Masterclass:DrawingImprovisationswithAndreaKantrowitz,followedbypaneldiscussion
DrawingtoworkshopwithYoonBahk
PrivateviewandperformancesfromSaranjitBirdiandEricaBohr
SATURDAY
10am
10.30
12.30
2pm
3.30
4pm
5.30
6pm
Registration&signingupforworkshopsandlunchtimediscussiongroups
Masterclass:TheArtofTeachingScienceThroughDrawing,withMerrieKoester,
followedbypaneldiscussion
Lunch(discussiontablesstartat1pm)
Concurrentworkshops
Break
Dropinworkshops
Workshopfeedback
Close
SUNDAY
10am
10.30
12.30
2pm
1.30
4pm
6pm
Registration&signupforafternoonworkshops
Masterclass:DrawingasanactofGenerosity,withKimSloane,followedbypaneldiscussion
Lunch&filmscreening
Concurrentworkshops
Performance:MattFreedman
Finalreflectionsandfeedbackwithpanel
Close
WeAllDraw
SaturdayLunchtimediscussiontables:1pm
Whydopeoplestopdrawing?
CyraLevenson
Observationaldrawinganddyslexia
HowardRiley&QonaRankin
SupportingChildrensdrawingdevelopment
MartaCabral
SaturdayConcurrentworkshops:2pm
AboutLonelinessandcontact
EmmaFlt
MakersofImagery:ExtravagantEdges,LinesandForm
SusanBeniston&CynthiaHellyerHeinz
Dot,Line,Shape,Pattern,Preference,Form
MichaelMoore
Beingpresentinyourownbody
Christian&GroCecileMontarou
MazingtheFaceTracingtheGaze
PamelaLawton
Ariverrunsthroughus
JillJourneaux
AnimatingtheBargehouse
SaraSchneckloth
EmbodiedAnatomyClass
EmilySheehan
DrawingintheFourthSpatialDimension
GemmaAnderson&AlessioCorti
SaturdayDropinsessions:4pm
(noneedtobook)
ExploringtheBargehousethroughdrawingandstitch
RosieJames,MarciaTeusink
HapticDrawing:TheTactileSelfPortrait
MarnaShopoff
ReflectionIn&OnNetworkDrawing
ClaireScanlon,PaulGrivell
MemoryDrawing
MichelleSalamon
VerbalDrawing
JoannaNeil
TheContingentSpace
ThomasAlbrecht
DrawingEnergy
FloraBowden
RulesofDrawing:makingandbreaking
TaniaKovats&herMAstudents
MapDrawing
RobinWhitmore
Hearts,MindsandGuts
AngelaHodgsonTeal
DrawingCirclesmeeting
AngieBrew&GaganSingh
SundayConcurrentworkshops:2pm
(PleasesignuponSundaymorning)
Both/AndDrawing
AngelaRogers&DuncanBullen
Exploringandevaluatingdrawinginthefieldofmedicine
JennyWright&DimitriosPanagiotopoulos
DrawingGym
MichaelNamkung
Collaborative,narrativedrawing
LucyLyons,PatrickLetschka&PhilippaLyon
Play,Chance,andComics
MattFinch
Knucklebones:Theartofmakingyourmark
SuzetteSnyman
NavigatingIrreducibleHumanity(withaPencil)
ThomasBosket
WeAllDraw
Friday1.30pm
Masterclass:DrawingImprovisations,
withAndreaKantrowitz
Inventordiscoversomethingnewthroughthe
processofdrawingitself,somethingneverbefore
seenorimagined.
Createyourowndrawingimprovisations,basedon
researchthatintegratedmethodsandtheoryfromart
andcognitivepsychologytostudythecognitive
interactionsunderlyingcontemporaryartists
improvisationaldrawingpractices.Improvisation,in
music,comedyorinlifecanbeunderstoodasaskillful
responsetounpredictableevents,yetdrawingskillis
oftenregardedastheabilitytoaccuratelytranscribea
knownimageontoaflatsurface.Butartistsand
othersdrawnotonlytotranscribeandcommunicate
animagealreadyfixedintheworldorintheirmind,
butalsotoinventordiscoversomethingnewthrough
theprocessofdrawingitself,somethingneverbefore
seenorimagined.Althoughundoubtedlyintertwined
anditerativeinpractice,thesetwogoals,totranscribe
ortodiscover,canbeseenastheextremesofa
continuum.Thismasterclasswillexplore
transforming2Dforminto3Dformandbackagain,
throughpaperfoldinganddrawingfocusingon
improvisationaldrawingasameansofexploration
anddiscovery.
(
Photographer:TimTiebout,courtesyofthePhiladelphiaMuseumofArt)
AndreaKantrowitz,EdD.,isanartist,researcher,educator,andcodirectoroftheThinkingthroughDrawing
Symposiumseries,whohaslecturedandgivenworkshopsinternationallyonartandcognition.SheholdsaB.Ain
ArtandCognitionfromHarvardUniversityandaMFAinPaintingfromYale,andteachesatTylerSchoolofArt,
TempleUniversity.ShehastaughtdrawingatPrattInstituteinBrooklynandgraduatecoursesincontemporary
artattheCollegeofNewRochelle.ShehasalsobeenateachingartistintheNewYorkCityformanyyears,
involvedinmultiplelocalandnationalresearchprojects.Sherecentlycompletedaninterdisciplinarydoctorateat
TeachersCollegewhichexaminedthecognitiveinteractionsunderlyingcontemporaryartistsdrawingpractices.
HerblogisZyphoid.comandherownartworkisrepresentedbyKeniseBarnesFineArt.
WeAllDraw
Friday3.45pm
Drawingto.....
withYoonBahk
Thisworkshopwillhelpyoudiscoverafewthings:
2.
3.
4.
Yourequitegoodatdrawing.
Youcanusethesedrawingsasatooloraprocessforunderstanding,rememberingandcommunicating.
Whyyoushouldincorporatethesedrawingsaspartofyourworkprocessinwhateveryoudo.
Youwillreceivebasicknowledgeandskillsandmostimportantly,confidencetocapturestories,ideas,systems,
journeysandmoreinavisualformat.
YoonBahkisadesigner
andeducator,basedin
London,whospecialisesin
designthinkingand
thinkingthroughdrawing.
SheisaSeniortutorand
programmeleaderinthe
InnovationDesign
EngineeringMasters
CourseattheRoyalCollege
ofArt.Thinkingthrough
drawingisattheheartof
herdesignandinnovation
processandoutsideof
academiasheconsultsa
widevarietyofclients
usingdrawingtofacilitate
theprocess.
WeAllDraw
4.30pmFriday
WelcomeeventandPrivateView:
WeALLDraw@UAL,curatedbyTaniaKovats&KellyChorpening
WEALLDraw:ThinkingDrawings,openexhibitioncuratedbyErinWiersma
WeAllDraw@UALincludesdrawingsfromstudentsandstaff
andrecentalumniacrossUALcampuses,
whowereinvitedto
submitonedrawingeachtoshowcasethescope,diversityand
depthofdrawingacrosstheuniversity.Wearedelightedwith
theresponsetothecallandthebreadthofthesubmissions,
fromacrosscolleges,courses,departments,andincluding
stafffromcollegeshops,aswellastechnicians.Weare
particularlyinterestedinworkingdrawings,thathelpusto
thinkandtofigurethingsout.Weencouragedpeopletosend
drawingsmadeinsketchbooksorstudioasapartof
preliminaryworkingprocesses,aswellasfinisheddrawings.
Theselectedworksincludeeverythingfromspontaneous
drawingsonthebackofenvelopestosustaineddrawingson
traditionaldrawingpapers.
WeALLDraw:ThinkingDrawingsincludes
drawingssubmittedbypost,fromartists
andthinkersinternationally.Theyoffer
examplesofdrawingasatoolforthought.
Thedrawingsdisplayedareresponsesto
thequestions(raisedatourprevious
symposia):
Whendosurgeonsusedrawing?
Howdoscienceteachersusedrawing?
Whydoestheengineerusedrawing?
Howcandrawingbeusedasasocial
practice?Wheredoartistsdraw?
Doesdrawingfacilitatedialogue?
Couldadrawingresolveadispute?
Doesdrawingpromotewellbeing?
Canadrawingsing?
10
WeAllDraw
Fridayevening
performance:Feetfacefeet,withSaranjitBirdi
Usinghisfeet,inastandingposture,theartistwillbesketchingthefeetandfacesofdelegatesattheTTDevent.
Thedelegateswillbeallowedtophotographorvideothework,andabletoobserveandtalkwiththeartist
duringandafterthedrawingsession.
SaranjitBirdidiscoveredhisabilitytodraw
accuratelywithvariouspartsofhisbody,which
hebelievesstemfromhisconditioningasa
dancerandmartialartstraining.Henow
exploreshumanevolutionandcognition
throughhisdrawingpractice.Saranjithasused
drawinginrehabilitationforsurvivorsof
braindamageandalsopresentedhisdrawing
practicetotheschoolsofBioscienceand
PsychologyatUniversityofBirmingham,
collaboratinginsubjectsincludingcognitionand
muscleplasticity.
http://www.axisweb.org/p/saranjitbirdi/
https://vimeo.com/user3460668
11
WeAllDraw
Fridayeveningperformance:TotembyEricaBohr
ThefemalehyenaformsacentralmotifthatrecursthroughouttheSouthAfricanbornartist'spractice.Thehyena
performsashamanicfunction,andalsoexistsasametaphorforfemalewarriorresistancetoPatriarchy.In
panAfricanmythologiesthefemalehyenaisregardedasapotenttalismanofevil:ashapeshifting,soulstealing
interloperandsuccubus.
In'Totem',2015,Ericarecountsthestoryofherencounterwithhyenas,andherdreamdrawingofoneofthem
thatresultedinthestatusof'Umthagathi'(malewizard)beingconferredonherbylocalpeople,whowitnessed
thedrawing.ShewillattempttorecreatethedreamdrawinginthesandoftheThamesatlowtide,oronan
urbanconcretesurface,asthetraceofatraceofapastexperienceintheTropicofCapricorninSouthernAfrica
manyyearsago.Afollowupperformancewillrecreatethispalimpsestdeepinalargeindigenousforestin
PotsdamMittelmarkinruralGermany,hometoalocalwolfpopulation.
EricaBhr'smultimedia,interdisciplinaryfineartpracticeisconcernedprimarilywithidentitypolitics.Her
practicecritiquesthesocialconstructionofgenderandhowgenderisperformedinapatriarchalmatrix,where
womenarebornintotheinsubordinatesexclass.Herpracticeisunapologeticallypoliticalandencompassestext,
performance,drawingandinstallation.Ericagraduatedin2011fromCambridgeSchoolofArtandcurrentlylives
andworksinBerlin.
ericabohr.tumblr.com
virgindyke.blogspot.com
ericabohr@me.com
12
WeAllDraw
SaturdayMasterclass:TheArtofTeachingSciencethroughDrawing:
TheScienceandArtoftheKnobbedWhelkandTheEutrophicationBlues
WithMerrieKoester
ThispresentationoffersamodelforteachingscienceasaestheticinquirythroughthecreationofKnowtations,
singlepagevisualexplanatorymodels,whichintegratethewords,images,symbolsandactionsofsituated,
contextual,5Escienceinquiry.TheformandfunctionoftheKnowtationvarieswiththestageofinquiry
Engage,Explore,Explain,Extend,orEvaluate.PleasejoinDr.Koesterfortwoperformances:TheScienceandArt
oftheKnobbedWhelkandTheEutrophicationBlues.
MerrieKoester,Ph.D.,isaU.S.scienceeducator,artsbasededucationalresearcher,painterandauthorofthe
AgnesPflummscienceeducationnovels,implementedbyU.S.teachersnationwide.Shepresentlyservesasthe
directorof
ProjectDrawforScience
,anactionresearchinitiativeattheUniversityofSouthCarolina.Anativeof
Charleston,SC,andaPhiBetaKappagraduateofFurmanUniversity,Dr.Koesterfirstbegandeveloping
curriculumforteachingsciencethroughtheartsaspartofhermastersresearchattheUniversityofHawaiiin
1990.Sincethattime,shehasworkedtirelesslytofacilitateprofessionaldevelopmentworkshopsonteaching
sciencethroughthearts,speakingatdistrict,state,andnationallevelscienceeducationconferencesthroughout
theU.S.AkeyfeatureofDr.Koesterscurriculumisthedeepeningofsciencepedagogicalcontentknowledge
throughthepracticeofwhatshecallsperformativenarrativedrawingandthecreationofgraphicKnowtations.
Inhermostrecentresearchandpublication,ScienceTeachersWhoDraw:TheRedIsAlwaysThere(availableat
theWeAllDrawsymposium),Dr.Koesternarratescasestudiesoffivescienceteachers,andoffersarationalefor
usingdrawingastheprimarylanguageandamediumofcognitionforstudentswhoarestrugglingreaders,atany
gradelevel.
www.agnespflumm.com
http://merriekoester.wix.com/projectdfs
https://www.facebook.com/scienceteacherswhodraw
13
WeAllDraw
SaturdayLunchtimeDiscussionGroups(pleasesignupinthemorning)
Whywestopdrawing,withCyraLevenson
Mostchildrendrawspontaneously,whetheritsonapieceofpaper,onachalkboard,orinthedirt.Drawingisan
ancientandfundamentalhumantoolforcommunicating.However,manyadultsfeelthattheycantdraw,some
evenfeardrawing.Whydoesthisshiftoccur?Whatcontributingfactorsexist?Howmightweshifttheperception
ofdrawingasanexpertdisciplinetoonethatanyonecanuse?
CyraLevensonisCuratorofEducationattheYaleCenterforBritishArt,lecturerintheAmericanStudiesatYale
UniversityandonfacultyatParisCollegeofArt.ShehasworkedcloselywithfacultyandK12educators
throughouthertenureandbelievesstronglyincollaborationbetweenmuseumsandclassrooms.Research
interestsincludecreativityandcognition,visualliteracyandcriticalpedagogy.Publicationsinclude,Seeing,
Connecting,Writing:DevelopingCreativityandNarrativeWritinginChildrenin
HandbookofWriting,
RepresentingSlavery:UnderservedQuestionsinMuseumCollections
in
StudiesinArtEducation,
andthe
forthcomingBustofaMan:theMatterofaNeoclassicalBlackIconin
BritishArtStudies
.Cyrawasalsothe
cocuratoroftheexhibition,
FiguresofEmpire
:Slavery
andPortraitureinEighteenthCenturyAtlanticBritain.
Observationaldrawinganddyslexia,withHowardRileyandQonaRankin
Thisworkshopwillfacilitatediscussionaboutstrategiesfortheteachingofobservationaldrawingingeneral,but
specificallytoinvitethesharingofexperiencesaboutprovisionforstudentswhoaredyslexicand/ordyspraxic.
ThesessionincludesashortvideoofrecentdrawingworkshopswithdyslexicstudentsattheRCA.
QonaRankinistheDyslexiaCoordinatorattheRoyalCollegeofArt.Initiallyadesigner,in1997sheretrainedin
DyslexiaSupport.In2004,discussionswithstudentsregardingtheirperceivedinabilitytodrawwellledtoher
formingaresearchcollaborationwithcolleaguesattheSwanseaCollegeofArt,MiddlesexUniversityand
UniversityCollegeLondon.In2008,QonasetuptheCreativeMentorsFoundationwhichshenowruns.Shealso
continuestodesignandmakejewellery.
ProfessorHowardRileystudiedattheHammersmithCollegeofArt,CoventryCollegeofArt,andtheRoyal
CollegeofArt.HeholdsadoctorateoftheUniversityofWalesinthepracticeandpedagogyofdrawing.Hehas
publishedintheareasofdrawingpedagogy,visualsemiotics,andmostrecently,collaborativeresearchintothe
relationshipsbetweendyslexiaanddrawingabilitywithcolleaguesQonaRankinRCA,ChrisMcManusUCL,Nicky
Brunswick,Middlesex,andBeckyChamberlain,UniversityofLeuven.Riley'sdrawingshavebeenexhibitedin
Australia,Malaysia,Finland,theUSAandtheUK.
Supportingchildrensdrawingdevelopment,withMartaCabral
Thediscoveriesofmarkmakingarecrucialforearlyartisticdevelopment.Theexplorationofphysicalmotions
andthediscoveryofthemarkstheymake,isanearlysteptomakingsenseoftheworldthroughdrawing.Young
childrendrawwhattheyexperienceandanexploratoryapproachtoartcanhelpthemunderstandtheworld
throughtheirexperienceswithmaterials.Thisinformaldiscussionwilladdressaspectsofsupportingyoung
childrenintheirexperimentationandexplorationsindrawing.
MartaCabralisacuratorofartworks,artisticexperiences,andplay.Sheworkswithpeopleofallagesexploring
artmaterialsandideasinsettingsrangingfromstudiostoclassrooms,galleries,universities,conferencerooms,
andbeyond.MartateachesgraduatelevelcoursesinArtEducationandsupervisesstudentteachersatColumbia
University'sTeachersCollege.Asanartistinresidenceandresearchfellow,sherunsColumbiaUniversity'sRita
GoldEarlyChildhoodCenter'sartprogramforinfants,toddlers,andpreschoolers.BasedoutofBrooklyn,NY,she
createsandstrengthensartprogramsandeventsaroundtheworld.
14
WeAllDraw
Saturday,2pm,Concurrentworkshop:
Aboutlonelinessandcontact,
withEmmaFlt
Thisworkshopusesgroupdrawingtostudytheconceptofloneliness.Theprojectstartedwithagroupofyoung
peopleinNorthernSavonia,Finland.Fltisdoinggroupdrawingsindifferentplacestostudythethemesof
lonelinessandcontactwiththeworldandourwaysofmappingandunderstandingthelivedenvironments
withoutnecessitytousewordsorevenlook.ForFlttheessenceofunderstandingislisteningandfindingyour
ownvoiceviathat.
Workhasbeengoingonnowfor2yearsandisdoneincollaborationwithTheRegionalDanceCenterofEastern
Finland(ITAK)andsupportedbyArtsPromotionCentreFinlandandTheFinnishCulturalFoundation.
Fltisfocusingonmarvellingattheworldthroughdrawingandperformanceart.Importantthemesinherwork
aremovement,improvisationandtogetherness.Fltsworktakesacomprehensivelookatdrawingasaliveact,
aninstrumentofcommunicationandameanstocollaborativelyexploreourexperienceoftheworldaroundus.
EmmaFltisbasedinKuopio,Finland
http://emmafalt.wordpress.com/
http://vallpiga.wordpress.com/
15
WeAllDraw
Saturday,2pm,Concurrentworkshop:
MakersofImagery:ExtravagantEdges,LinesandForm,withSusanBeniston
&CindyHellyerHeinz
Howdoestheexperienceofmarkmakingalterthewaywecomprehendspace?
Howdoesformimpactinteraction,useandconstructionofobjects,spaceandinfinitedirection?
Howcanweanimatethestaticnatureofformwiththerecognitionthatinrealityeverythingisinflux?
Thisparticipatoryworkshopwillventureintodrawingasatransformativepracticefrommark
makingand
rhythmsonpaper,extendedintothree
dimensionalformsinspace.Itwillalsoincludethedimensionoftimeand
motion.Drawingasanenactedpractice,parallelshowweexperiencelifeandinteractionswithinourperceived
context.Linebecomesform,formbecomesmovement,allbecomecultivatedbytheobstaclesthatmakeus
adaptandexpandorreflectandconsider.
Ourinterestisinfacilitatingchangethroughcreativesocialpractices,whichareengagedthroughmaterialsand
processes.Wewillexplorethinkingthroughmaterials,lettingthemediuminfluenceandmediateanintuitive
rangeofvisualexperience.Theinitialpracticewillbeginwithelicitingspontaneousdrawnresponses,andthen
identifygraphicconnectionsthroughsmalldyadic/triadicgroups.Toconnectrelationally,wewilllinkparticipants
inoverallshiftsthroughmaterials,inaprocessthatinvolvesco
creatinglargescale,collaborativedrawingsand
embodiedforms.
SusanBenistonisanartist,educatorandregisteredarttherapistwhoteacheswithintheFacultyofAnimation,
ArtsandDesignatSheridanCollegeinOntario,Canada.SheisafacultypeercoachinSheridansCentrefor
TeachingandLearning,anhonoursgraduateoftheVancouverSchoolofArtandhasanMFAfromtheUniversity
ofWaterloo.Althoughherideasareexpressedsculpturally,Susansresearchhasbeenrealizedthrough
interdisciplinarycollaborationswithartists,choreographers,andcomposers.Someworks,suchasIntoLimbofor
theTorontoSculptureGardenhavebeendesignedasoutdoorinstallations.Susanhasanextensiveexhibition
historyandiscomfortablecrossingdisciplinesandboundariesinartpracticesthatleadtoprogressivewellbeing.
CindyHellyerHeinzistheFoundationsCoordinatoratNorthernIllinoisUniversity.Sheisanactiveartistand
illustrator.Herdrawingshavebeenexhibitedinmuseumsandgalleries,andfeaturedinbooksandjournals.Her
imagerydescribesthehumanagingprocess,parallelingnaturescyclesofregeneration.Cindyisacommittedand
passionatearteducator,workingwithbothFoundationsstudentsandfacultytooffertheoptimallearning
experienceinthefirstyear.ParticipationwithIntegrativeTeachingInternational,theorganizationthatcreated
tenyearsofThinkTanks,whichfocusesoncorelearninginart,haspropelledthedevelopmentofaseriesof
drawingworkshopswhicharetargetedtowardteachingideageneration,processandskilldevelopment.
SusanandCindyscollaborationisbasedontheirextensiveinvolvementswithFATE:FoundationsinArt:Theory
andEducationFacilitatingExcellenceinArtFoundations
http://www.foundationsart.org/whichalsooffersIntegrativeTeachingInternationalandThinkTankCatalysts
http://integrativeteaching.org/
16
WeAllDraw
Saturday,2pm,Concurrentworkshop:
Dot,Line,Shape,Pattern,Preference,Form,withMichaelMoore
Adrawingbecomesvitalandaliveasitevolvesfromitsoriginaldottothelines,shapes,andpatternsofitsfinal
form,guidedbythepreferencesofthepersonwhoisdrawing.Thelifeofthedrawingbelongstothepersonwho
madeit,buttheoriginaldotandthefinalformbelongtoeveryone.Noonepersonownsthedot,andeveryone
cansharetheformonceitisconcludedandreleasedforobservationandinterpretation.
Understandingdrawingasapreferentialprocessfromdottolinetoshapetopatterntoformcanbeausefulpath
formakingdrawingsfromtheinside/out,andforseeingdrawingsfromtheoutside/in.
Usingwhatevertoolstheyprefer,participantswillbeguidedtoselectthesubjectsandobjectsthatbestfacilitate
theirabilitytodrawwithincreasedattentiontothissequentialprocessfromdottolinetoshapetopatternvia
theintimateparticularitiesofpreferencetowardthefulfillingconclusionofform.Participantswillviewallofthe
drawingsanddiscusstheirprocesses,asseenwithintheevidenceofthedrawings,andasrememberedfrom
havingdrawnthem.
MichaelMooreholdsaBFAdegreein
PrintmakingfromSyracuseUniversityandan
MFAdegreeinDrawingfromtheUniversityof
Washington.MichaelstudiedInuitcarvingsin
Churchill,Manitobain1975.Hetraveledto
Japanin1988and2001,andtoChinain2001.
HetaughtattheUniversityofSouthernMaine,
19671992,theCallendarParkCollegeof
Education,Falkirk,Scotland,1972/73.Michael
hasbeenamemberoftheGraduateFacultyat
ThePennsylvaniaAcademyoftheFineArtsin
Philadelphia,since1992,wherehewasDirector
ofGraduatePrograms,199498,andChairof
thePostBaccalaureateProgram,200413.Asa
memberoftheGraduateFaculty,heteaches
Drawing,andadiscussionseminarentitled
Subject,Form,andContent.Hetaughttwelve
drawingworkshopsatTheHaystackMountain
SchoolofCrafts,19852012.Michaelmaintains
studiosinPhiladelphiaandMaineandhas
exhibitedhisworkinavarietyofsolo,group,
andfacultyexhibitionsduringthepast45years.
www.drawingdrawings.com
www.drawtodraw.com
17
WeAllDraw
Saturday,2pm,Concurrentworkshop:
Beingpresentinyourownbody,withpracticalexercisesinawarenessusing
gesturedrawings,withChristian&GroCecileMontarou
Thefollowingfivestepsofthissessionbuildoneeachother,
makingeasierfortheparticipanttomaster.
1.Relaxingthebody:discoverhiddentensionsinthebodyin
ordertoobtainarelaxedstateofmindbeforestartingtodraw.
2.Throughaseriesofdrawingsexercises,whosepurposeisto
feelthedrawingtoolasaprosthesisofthebody,theparticipant
willexperiencetheautonomyofdrawingsgesture,disconnected
forawhilefromthecontrolofthemind.
3.Throughworkingwithdrawinggesturesconnectedtoletters
andwords,theparticipantwillinvestigatetheforgotten
connectionbetweensound,gestureandvisualexpression.
4.Usingthesepreliminaryexperiencestotranslatedifferent
objects,byintegratingasuccessionofgesturessequencersto
renderasubjectvisually.
ChristianMontarouisavisualartist,borninFranceandlivinginNorwayformanyyears.EducatedinBeauxArt
schoolsinLeMansandAngersfrom1967to1972,laterinNorwayatOsloFineArtsAcademy197273.
Pedagogicalstudies197576.Montarouhasfortyyearsteachingsexperience;teachingatOsloUniversityTeacher
TrainingCollege,PedagogicalCoachingofArtTeachersCandidates(todayOsloUniversityCollegeofApplied
SciencesFacultyoftechnology,artandDesign),teacherattheUniversityofOsloFineArtAcademyandatthe
OsloSchoolofArchitectureandDesign.ThelastfifteenyearshehasbeenworkingasanAssociateProfessorin
theDepartmentofLandscapeArchitectureandSpatialPlanningatTheNorwegianUniversityofLifeSciencesin
s,Norway.Forthetimebeing,heisresponsibleforateachingprogramindrawingthatiscoretotheLandscape
Architecturedegreeprogram.Montarouhas,for20yearshadayearlygrantfromtheNorwegianGovernmentfor
hisArtwork,whichisrepresentedinseveralofthemainArtinstitutionsinNorway.
GroCecilieMontarouwasborninNorway(1962).Shehasworkedasaphysiotherapistfornearly30yearsand
sheisSpecialistinPsychomotorPhysiotherapy,auniversitybasedpostgraduatephysiotherapyeducationin
Norway.Hermethodputsemphasisonthebodyandmindunity.Tensionsinthebody,whichheldovertime,
havenegativeeffectsuponthebreath,balance,motorskillsandtheavailabilityoffeelings,thoughtsand
creativity.In20years,shehasdevelopedcoursesforphysicaltherapistsworkingwithadolescentshaving
psychosomaticandpsychiatricproblems.Furthermore,shehasgivenlecturesatdifferentCollegesand
UniversitiesinNorwayandholdpresentationsatseveralnationalandinternationalcongresses.Asan
introductiontodrawing,theparticipantsgetthechancetodiscoverandreleasesomeoftheirhabittensions,
whiletheyaresittingandstanding.Thetargetistoobtainarelaxedandinspiredstateofmindbeforestartingthe
drawingprocess.
18
WeAllDraw
Saturday,2pm,Concurrentworkshop:
MazingtheFaceTracingtheGaze:Multisensoryfacemapping/face
making,withPamelaLawton
ChuckClose,onportraiture:Theresaphysical,experientialaspecttoitalmostliketraversingalandscape.If
youwerewalkingacrossareallandscape,youwouldcometoacreekandyoudhavetogetacrossit,andthen
youdhavetowalkaroundstones..Ithinkofitasacreageacreagethathappenstobeaface.Matissesaid,
Lookatlifewiththeeyesofachild.Inordertopaintarose,onehastoatfirstforgetalltherosesthatwere
everpaintedWhenIpaintaportraiteverytimeIextractfromthesamepersonadifferentbeing.
Whatisaportrait?Whatisalikeness?Inthisworkshop,wewillforgemultiplepathwaysfromfacetopaper,
defyingourownconventionsandconceptionsofselfportraitureandselfimage.Limitingoursenseofsight,we
willenhanceandutilizeperceptionsdiscoveredthroughtouchandsound,decodingourownfeaturesaswedraw
themasifforthefirsttime.Wewilluseexperimentalandtraditionalmaterialsandmethodsthatenhancethis
approachandbuildreliefmixedmediadrawingsthatembodyformthroughlineandchiaroscuro.From
selfportraits,participantsmayworkcollaboratively,drawingportraitsfromasharedverbaldescription.
IpioneeredthesemethodsatTheMetropolitanMuseumofArt,along
withRebeccaMcGinnisandDeborahLutz,inSeeingThroughDrawing,
aclassdevisedforadultswithlowornovision,whichispopularamong
sightedparticipantsaswell.InteachingStudioPracticesInAbstractArt
atManhattanvilleCollege,Ialsoutiliseprocessoriented,
materialsdrivenengagementwithformstochallengeconventionsand
expectationsofwhatisagooddrawingandwhatisalikeness.
PamelaLawtonspaintingsanddrawingshavereflectedtheheightof
theWorldTradeCenter,thecacophonyofTimesSquare,NYC,the
fountainsofSeville,andtherhythmsoftheIndianOcean,allplaces
whereshehascreatedartwithzeal.Inspiredbyherstudents,she
sharesherpleinairartmakingpracticeswiththem,includinginthe
galleriesoftheMetropolitanMuseumofArt,onNewYorkstreets
whileteachingforEugeneLangCollege,andinplacessuchasSriLanka,
Afghanistan,andCorciano,Italy,thelatterwhileteachingforAmerican
University.Shehasexhibitedlocallyandinternationally,including
onepersonexhibitionsattheGaleriaNacionalinSanJose,CostaRica,
TheCondeNastBuilding,NY,180MaidenLane,NY,TheAtrium
Gallery,NY,andtheGaleriaIsabelIgnacioinSeville,Spain.Group
exhibitionsincludingherworkhavebeenfeaturedinPierogiGallery,
NYC,SideshowGallery,NYC,TiborDeNagyGallery,NYC,TheArtists
Museum,Lodz,Poland,andtheEmmanuelHellerGallery,TelAviv.
LawtoniscurrentlyanArtistInResidence(AIR)atChashama,NYChas
beenanAIRattheWorldTradeCenterthroughtheLowerManhattan
CulturalCouncil,amongothers.ShereceivedaBAfromBennington
CollegeinvisualartsandanMFAinpaintingfromtheCityCollegeof
NewYorkandScuolaLorenzoDeMediciinFlorence,Italy.WhileafacultymemberatEugeneLangCollege,New
SchoolUniversity,shecreatedastudyabroadartprograminSriLanka.ShehasbeenteachingatThe
MetropolitanMuseumofArtformorethantenyears,whereshehelpedtocreateacourseSeeingThrough
Drawing.SheiscurrentlyonthefacultyofManhattanvilleCollegeinPurchase,NewYork.
19
WeAllDraw
Saturday,2pm,Concurrentworkshop:
Ariverrunsthroughus,withJillJourneaux
Thisworkshopwillconsiderthepotentialofdrawingtoenhanceasenseofpersonalwellbeing.Byworkingwith
ideasandimagerydrawnfromtheriverThamesandthecityitnurturesandsupports,andrelatingtheseto
imagingthebodyandself,wewillusearangeofapproachestodrawingthatexplorenotionsofwellbeingand
wholeness.Wewilldrawonandattheriversedge,dependingonthetideandweather,inordertodevelop
imageryfromtheriverbyobservingsuchqualitiesasitsspeedandmovement,thewaythelighthitsit,orhowit
offerstransportforpeopletocometogether,andenablesfoodandothervitalitemstobebroughttothecity
thussustainingacommunityofpeople.
Wewilltakethesedrawingsbackintothewarehousespaceandthenworkthroughaseriesofdirecteddrawings
thatareintendedtoenableustorealiseimagesofourselves(individuallyorcollectively),whichcanoperateas
symbolsormetaphorsforselfandforbody.Thesedrawingswillfocusonourconnectionstotheriver,theearth
beneathus,thesky,thecity,natureorthewind,therainorthesundependingontheweatherandwhatis
happeningontheriver.Themesmayincludeimaginingtheriveras:energiser,cleanser,lightandilluminator,
breatheandvoice,bringerofnourishmentandsafety.
Whenwehavegatheredenoughmaterialwewillworkthesedrawingsintolargerimagesthatbringtogetherthe
experiences,feelingsandideasthatwehaveexaminedthroughourdrawings,withtheaimofachievingsome
synthesisofimagery.
JillJourneauxisProfessorofFineArtEducationandResearchDegreeLeaderatCoventrySchoolofArt&Design.
Herinterestisintherepresentationofphysical,emotionalandpsychologicalrealitiesthroughautobiographical
narrative:thefemalebodyasanexperienceofinhabitation,thecraftsandartifactsofdomesticityascontentand
processforfineartpractice,andnotionsofbeauty.Sherealizesherpracticethroughdrawingandstitching,
examiningthespacebetweenartandcraft,andtherelationshipsbetweenthedecorativeandthedomestic.Her
researchconsiderstheevolvingnatureofthefineartcurriculum,theteachingofcreativityandtheshiftingplace
offineartwithintheacademy.HerworkisheldinpublicandprivatecollectionsintheUK,USAandEurope.
www.jilljourneaux.co.uk
www.lboro.ac.uk/departments/sota/tracey/journal/dab/noed/journeaux.html
20
WeAllDraw
Saturday,2pm*,Concurrentworkshop:
AnimatingtheBargehouse,withSaraSchneckloth
Acollaborative,handdrawnanimationprojecttoactivatethearchitecture,history,andspatialpotentialofthe
2015LondonTtDsymposiumsite.Inthisworkshop,wewillworkwithinaspecificareaintheBargehouse,
drawingimpressionsof,andimaginedpossibilitiesfor,thearchitecturalspace.Wewillcreatemultipledrawings
thatcanbeshowninanimatedsequence,rangingfromsimple(cracksspreading,animalsmigrating,shadows
movingacrossthewall)tocomplex(narrativehistoriesunfolding,spacesbeingradicallyrestructured).All
drawingswillhavethecommonthreadofrespondingto,andengagingwith,theuniquefeaturesthat
characterizethespace.Allfinisheddrawingswillbescannedinsequence,animated,andthenprojecteddirectly
backontopofthesourcesurface,overlayingthearchitecture.Theresultwillbearunninghanddrawnanimation
thatactivatesthespaceasinterpretedbyallwhohavedrawnit.
*Thisprocesswillcontinuethroughouttheeventandwillalsobeavailableasadropinsessionthroughout
Saturdayafternoon.
SaraSchnecklothhasshowndrawingsinoversixtyexhibitionsthroughouttheUS,SouthAfrica,andFrance,and
heressaysondrawingandembodimenthaveappearedinthe
JournalofVisualCulture
,
VisualCommunications
Quarterly
,andthe
ManifestInternationalDrawingAnnual
.SheholdsanMFAfromtheUniversityofWisconsin
Madison,andhaslivedandworkedinIowa,Chicago,Seattle,SanFrancisco,CapeTown,andColumbia,SC.An
AssociateProfessorintheSchoolofVisualArtandDesignattheUniversityofSouthCarolina,sheispresently
investigatingtheintersectionsofbiology,geology,andarchitectureasimaginedthroughdrawing.
www.saraschneckloth.com
21
WeAllDraw
Saturday,2pm,Concurrentworkshop:
RulesofDrawing:MakingandBreaking,
withTaniaKovats&UALMAstudents
Thisworkshoplooksathowwemightexaminethewaysweapproachmakingadrawing,lookingattheruleswe
applyandtheruleswebreak.
Drawingisaparticularlyopenendedformofcreativeoutputandonethatisinafluidstateofdefinition,yetthe
drawingswemakefollowrules,explicitlyorcovertly.
Weallhaveasetofrulesthatweapplywhenwemakeadrawing.Thisworkshopwillexplorethoserulesto
createacollaborativegroupdrawing.
Nametenrulesofdrawing.
Theydonthavetoberulesthatwouldapplytoanyoneelsebutcanreflectonyourownpractice.
Makeadrawingthatbreaksatleastoneofyourrules.
Takearulebelongingtosomeoneelseandusesomeoneelsesrulestomakeadrawing.
Placethesedrawingstogether.Selectsomerulesandapplythemtoagroupdrawing.
TaniaKovatsstudiedatNewcastlePolytechnicbeforecompletingherMAattheRoyalCollegeofArtin1990.She
exhibitedatBarclaysYoungContemporariesattheSerpentineGalleryin1991.Herworkhasfocusedondrawing
andmappinglandscapesaswellasdescribingorusinggeologicalprocessesinthemakingofbothsculptureand
drawings.TaniawasawardedtheHenryMooreDrawingFellowship,UWE,Bristolin200405andwasVisiting
FellowattheSchoolofArchaeology,OxfordUniversity2006.HerTreewasselectedfromnineothershortlisted
artistsintheDarwinsCanopyprojectattheNaturalHistoryMuseumandwascommissionedtocelebrate
Darwinsbicentenaryin2009.
TheMADrawingCourseatWimbledonhasacrossdisciplinaryapproachtodrawing.Thecoursehasatitsheart
theresearchprogrammeofindividualstudents.Wehavestudentsfromarangeofbackgroundsincluding
scientists,illustrators,educators,digitalgamevisualizers,designers,andanthropologists,workingalongside
artists.Allstudentsshareafocustoexploretheirpracticeanddeveloptheirthinkingthroughdrawing.
http://www.arts.ac.uk/wimbledon/courses/postgraduate/madrawing/
22
WeAllDraw
Saturday,2pm,Concurrentworkshop:
EmbodiedAnatomyClass,withEmilySheehan
ThisworkshopwillfocusonconnectingatraditionalAnatomybasedapproachtofiguredrawing(basedon
GeorgeB.Bridgmans
ConstructiveAnatomy
andDr.PaulRichers
ArtisticAnatomy
)toaprogressionof
perceptualdrawingexercisesthatengagespecifickinestheticsensoryexperiencesthatallowdrawingstudentsto
developanembodiedunderstandingofskeletalandmuscularanatomyoftheheadandface.
Thelessonswillbesupportedusingtraditionalfiguredrawingmethods:lookingatthehumanformusing
anatomybasedanalysis(forthismethodtheartistidentifiessubcutaneousskeletal,muscular,andtendenous
landmarksthatarevisibleonthebodyandanalyzestheirfunctioninrelationtotheirpositioninaparticularpose
toprovidealogicaroundwhichtheartistcanrepresenttheform).WhereIexpandthetechniquesisinadjusting
andcontrollingtheimage,sothattheartistsandtheviewersperceptionandexperiencetravelthroughthe
imagefromInsideoutandOutsidein,aconstructIusetohelpstudentsdevelopadependablerelianceon
theirownbodilyperceptionsastheydraw
.InsideOutperceptionisselfrevelatorystartingwithaninternal
insight,emotion,orbeliefandrepresentingasituationcertaintoconnectthatinternalstartingpointwith
recognisableenvironmentalorexperientialtriggersthatresonatepersonally.Conversely,OutsideInperception
involvespurposelyshiftingonessenses(obscuringvision,changingbalance,creatingphysicaldissonance)inorder
toencounterfamiliarexperiencefromuncomfortableoroutsideperspectives.Thisexaggeratedsensory
environmentphysicallyacknowledgestheunwieldytaskofrepresentingpresentexperienceasimage.
EmilySheehanisAssistantProfessorofFineArtatIndianaUniversitySoutheast.EmilyreceivedherM.F.Ain
VisualStudies,withaspecialisationinDrawingandSculpturefromtheMinneapolisCollegeofArtandDesign
(MCAD)in2008.Emilysartisticresearch/practiceutilisesperceptualdrawing(drawingfromobservationina
multisensoryway)toexplorethewayamarksleftonapagebecomeevidenceoflivedexperience.Emilyuses
bothtraditionalandnontraditionaldrawingmaterials,andtechniques,tocreateworksthatprovokebothherself
andtheviewertolingerinthehumanspacebetweenencounterandrecountingwherewemakeourworld
personal.EmilyspiecesincludedareincludedtheprivatecollectionsofTheWeismannartMuseumandthe
TargetCorporation.In2014,Emilywasoneofthreeartistsselectedfromanationalpooltoexhibitherworkat
TheDrawingShow
(ashowcaseofcontemporarydrawingthattookplaceatthe
MultiplesArtFestivalof
ContemporaryArtandCraft
inChicago.In2015Emilysdrawingswereselectedforinclusioninthe
6th
annual
DrawingDiscourse:exhibitionofcontemporarydrawing
atUniversityofSouthCarolinaAshvilleaswellasthe
35th
editionofTheBradleyInternationalExhibitionofDrawingsandPrints
atBradleyUniversityinPeoria,IL.Shehas
hadSoloexhibitionsatthe
BarrGallery
atIndianaUniversitySoutheast(2012),the
McGrathGallery
atBellarmine
University,LouisvilleKY(2012),in2013EmilyreceivedsponsorshipfromtheGustavusArtistseriesandthe
Johnsonfundforasoloexhibitionandvisitingartistengagementsinthe
SchaefferGaller
yatGustavusAdolphus
College,St.Peter,MNandIn2014,Louisvillesprestigious
GreenBuildingGaller
ypresentedasoloexhibitionof
herwork.
emilysheehanstudiosite.com
23
WeAllDraw
Saturday,2pm,Concurrentworkshop:
DrawingintheFourthSpatialDimension,withGemmaAndersonandAlessio
Corti
Whatisthefourthdimensionalspace?
Howcanthefourthdimensionalspaceexistwhenrealityisthreedimensional?
Can4DspaceberepresentedinathreedimensionalrealityAndinatwodimensionalrealityCanitbe
drawn?
WiththesequestionsasastartingpointAndersonandCortiwillguideparticipantsthroughdrawinginthefourth
dimensionalspacebyanalogyandintuition.Integratingthekeyconceptofdimensionalpromotionwhichhad
beenusefulintheircollaborativeresearchthroughimagesfromourowncollaborativeresearchwork.Thegoal
forthisworkshopsis:visualizationanddrawingofobjectsin4dimensions.Thepointisnottomakebeautiful
drawingsbuttomakedrawingsthatcreateimagesinthemind.
GemmaAndersonisLecturerof
DrawingandPhDcandidateat
FalmouthUniversity.In2014,
AndersonfoundedaDrawing
ResearchprojectTheCornwall
MorphologyandDrawing.After
graduatedfromtheRoyalCollegeof
Artin2007,Andersonhassincebeen
ArtistinResidenceatImperialCollege
MathematicsDepartmentand
sustainedalongtermcollaboration
withtheNaturalHistoryMuseum
London.Recentexhibitionsinclude
FacingHistory,VictoriaandAlbert
Museum,CrookedRain,CrookedRain,
CentreforContemporaryArt(Derry),
Isomorphology,GalerieThore
Krietmeyer,Berlin,Portraits;Patients
andPsychiatristsTheFreudMuseum,LondonandSKIN,WellcomeCollection,London.Andersonhaswonseveral
awards,includingaLeverhulmeArtistinResidenceAward,aresidencyatAcmeStudiosFireStationinLondon,an
EngineeringandPhysicalScienceResearchCouncilawardandaWellcomeTrustArtsAward.Andersonsworkis
heldinthecollectionoftheV&AMuseum,TheWellcomeTrust,TheNaturalHistoryMuseum,TheDarcy
ThompsonZoologicalMuseum,TheArtsCouncilofNorthernIrelandandTheRoyalCollegeofArt.
www.gemma.anderson.co.uk
www.cmadc.uk
ProfessorAlessioCortiholdsaChairinPureMathematicsatImperialCollegeLondon.Hismainareasofinterest
lieinalgebraicgeometry,particularlyhigherdimensionalbirationalgeometry,minimalmodeltheory,Fano
varieties.
http://www.ma.ic.ac.uk/~acorti
24
WeAllDraw
Saturday,4pm,Dropinworkshop:
MapDrawing,withRobinWhitmore
200yearsago,theSouthbankwasaverydifferentplace.Whatwouldithavelookedlike?Wholivedhere?What
happenedhere?JoinRobinWhitmoretomakeagiantmapdrawingofLambethMarsh,theareasurroundingthe
Bargehouse200yearsago.Wewillbeusingcopiesofoldphotographs,paintings,drawingsandmapstoattempt
torecreateadetaileddrawnreconstructionoftheneighbourhood.
ThroughouttheweekRobinwillbeinvitingmembersofthepublictocontributetheirownanecdotesandimages
toaparallelmaptellingthemorerecenthistoryofLambethMarsh.Whatgoesonherenow?Whatsightshave
youseen?Whoarethenewresidents?Whatarepeopleslivingmemoriesofthisarea?Whatconnectionsare
therewiththepast?
RobinWhitmoreisinterestedinmakinglocalhistoryaccessibleandexcitingthroughthecreationofdetailedhand
drawnmapswhichrevealsocialpatternsofchange.HislatestmapshavebeengeneratedattwoKennington
librarieswithinputfromthelocalcommunities.ThroughouttheFestivalhewillbeshowingoneintricatemap
whichillustrateshowthemoderndaynatureoftheiconicLGBTpub,theRoyalVauxhallTavern,hasbeen
informedbythehistoryofitsenvironment.
Robinisprojectleaderfor
19Plus
,anartsprograminCambridgeHouseCamberwell,forartistsandlearning
diverseadults.Heisalsocurrentlyworkingwiththeartscollective
Duckie
ona5yearprojectinwethostelsfor
homelesspeopleinVauxhall.
25
WeAllDraw
Saturday,4pm,Dropinworkshop:
ExploringtheBargehousethroughdrawingandstitch,withRosieJamesand
MarciaTeusink
ThisdropinworkshopwillencourageparticipantstoengagewithBargehouseanditsimmediateareathrough
observationaldrawing,historicaldocumentsandacommunalstitchedtextiledrawing.Wewillinvestigateways
thatobservationaldrawinghelpsusengagemoreintimatelywithplacebycomingintothepresent,slowingdown
ourperceptionandhelpingushaveamoreembodiedexperienceofwhereweare.Lookingatoldphotographs
andthinkingaboutthehistoryofaplaceaddsanotherlayertoourexperience:wearenotjustpayingattention
toourpersonalexperienceinthismoment,butallowingforamoreexpansiveconceptionoftime,providing
opportunitiesformorelayereddrawings.Last,turningourdrawingsintostitchisatransformativestepthatuses
ourhandsandmindsinadifferentway,allowingforvisualandtactileinnovation,conversationandcollaboration.
RosieandMarciaarebasingthissessiononworkshopstheyhavebeenleadinginEastKentaspartofaproject
calledDMAGJoinedupArts&Museums,whichbroughttogetherheritagesites,artistsandcommunitygroupsto
investigatetheimpactofWWIontheregion.
RosieJamesstudiedtextilesatUniversityofCreativeartsinFarnham,SurreyspecialisinginPrintedTextiles.She
followedthiswithanMAinFineArtTextilesatGoldsmithsCollegeLondon.DuringherMAshebegantoexplore
theuseoffabrics,threads,clothsandneedlesastoolsandmaterialsforfineartandbecameinterestedin
interpretingexistingheavyweightcontemporaryartinadelicatetextileform.Thisledhertothinkofdrawingas
atextilepractice.Rosieisinterestedinhowdrawingwithaneedlecanbecomeabondinggroupactivitywhen
donebyhand.Shelikestocomparetheneedleandthepencil.Shenowmakesdrawingsusingasewingmachine
andsomehandstitchandencouragesotherstodothesamebyrunningworkshopsalloverthecountryand
abroad.HerworkisexhibitedinHotelsandMuseumsinternationallyandshehaspublishedabookcalled
Stitch
Draw
publishedbyBatsfordPublications.
MarciaTeusink
hasbeenteachingdrawinginschools,museums,churches,windmills,cemeteries,fieldsand
forestsfortwodecades.ShehastaughtinsuchinstitutionsastheBritishMuseum,theBrooklynMuseum,Pratt
InstituteofArt&Design,theLowerEastSidePrintshop,theZurichKunsthaus,amongmanyothers.Marciaholds
anMFAinVisualArtfromtheCityUniversityofNewYork,QueensCollege,andanMAinMuseum&Gallery
EducationattheInstituteofEducation,London.Shewroteherthesisondrawinginmuseumsandgalleries,
exploringdrawingasameansofengagingwithmuseumcollections.Marciaorganisesindependentcoursesin
museumsas
DrawLondon
,andshefrequentlyleadsworkshopsinheritagesitesinKentwithtextileartistRosie
Jamesas
Draw:Stitch
.
www.dadonline.eu/projects/dmagwwicodenamejoinedup
www.drawlondon.co.uk
www.rosiejames.com
www.facebook.com/drawtostitch
26
WeAllDraw
Saturday,4pm,Dropinworkshop:
HapticDrawing:TheTactileSelfPortrait,withMarnaShopoff
JoyceCaryhassaidthatartistsseeanddrawaccordingtotheirpersonalitytodrawisameanstoknow,to
expressarealitymorealivethantheonewenormallyexperience.
Drawingisamodeofdiscovery.Itgivesadeeperinsighttoonesownperceptions,whilealsocreatingan
opportunitytoexplore,playandexperiencetheworldinanewway.Thisworkshopwillexplorethesynchronicity
betweenthesenses,translatingperceivedexperiencesviaamark,whilecreatingadirectlineofcommunication
fromtouchtopaper.
Movingawayfromrepresentationandtowardsafeelingorsensation,participantswillusehapticdrawing
techniquestoexpresstheirrealitybymeansoftouch.Participantswillclosetheireyes,andallowtheirsensesto
interpretwhattheyarefeeling.Thesenseoftouchbecomestheirvision.
Tactileinformationwillbeconvertedintovisualinformation.Witheyesclosed,theparticipantswilltouch,feel
andexploretheirface,hairandneckwithonehandwhilerespondingwithmarksmadebytheotheronpaper.
Theparticipantswithexperience3Dimentionaldrawing,bymeansoffeelingdepthandthephysicalityoftheir
faces,thetextureoftheirskinandthesubtletiesoftheirhair.Insteadofinvestigatingsomethingthatis
2Dimensional,whatoneisseeing,theparticipantswillinterpret3Dimensionality,whattheyarefeeling.This
exercisecreatesadeeperunderstandingof3dimensionality,texture,spaceandpersonalinterpretation,using
onesownsenses,paper,pencilsandpens.
Participantswillemergewithagreatersenseofspatialpossibilities,explorenewwaystomakeamark,and
broadentheirsenseofdrawingpossibilitiesthroughintuitiveinvestigationsandcuriosity.
Projects&ideasborrowedfrom:
DrawingProjects;anexplorationofthelanguageofdrawing,
byMickMaslen
andJackSouthern.
MarnaShopoffisanartistand
educatorwithanemphasison
abstractpaintingandintuitive
drawing.SheholdsaBFAinpainting
withanarthistoryminorandanMFA
inpaintinganddrawingfromHerron
SchoolofArt&Design,Indianapolis,
IN.Interestedintheconceptsof
abstractionandspatialdesign,she
explorestheideaofplaceidentity
withinthebuiltenvironment.Her
workexplorestheideaofperception
asafunctionofhumanexperience,
placeandpersonalmemory.Shehas
ledpaneldiscussionsonabstract
learningandhapticdrawingatthe
2015FATEConferenceandatTaliesin
(2014).Shopoffisasanadjunct
professorinFoundationsandDrawing
atheralmamater.
marnashopoff.com
27
WeAllDraw
Saturday,4pm,Dropinworkshop:
ReflectionIn&OnNetworkDrawing,withClareScanlon&PaulGrivell
NetworkDrawingisaplayful,groupdrawinggamewithspecific(mutable)rulesofengagement.Itisaninclusive
practiceinthatitdoesnotrequireanyspecialexpertiseindrawing.
Inthelightofpostcontemporarydiscourseonnetworkedcreativity,ourresearchintothispracticehasbeen
broadlyframedbythe4Estheories(enactivist,embodied,embeddedandextended)theoriesofcognitionand
learning.Thegrowingbodyofresearchemergingacrossthedisciplinesofsocialsciences,neuropsychologyand
education,challengesdualistconceptionsoflearning,astakingplaceinthemindofthelearner,offeringinsteada
progressivemodelwhichresituateslearningandcognitionintheinteractionoftheindividualwithandinthe
environment(socialandspatial),throughtheirbodyandbyextensiontheuseoftools.Assuch,drawing,
particularlytheactivityofdrawingwithothers,canprovideanidealopportunityforindividualstoengagein
dialogueandreflectionontheirown(meta)learningprocesses.Networkdrawingoffersastructuredframework
inwhichtofocusthereflectionprocessinandoncollaborativeenterprise.
ThroughourpracticetodatewehaveestablishedthattheactivityofNetworkDrawinghaspossibleapplications
inarangeoffields,includingthepedagogic(withstudentsandstaffacrosssubjectareas),thetherapeutic(in
care/socialworkwithcommunitygroupsanddementiapatients),andincreativepractices(withartists,
designers,craftspeopleandprogrammers).
ClaireScanlonandPaulGrivellare
colleaguesintheCreativeIndustry
departmentofNorthbrookCollege,Sussex
wheretheyteachacrosstheoryand
practiceonFineArt,Mediaand
Photographyprogrammes.
Since2007theyhavecollaboratedas
artists,researchersandwriters,groundedin
butnotexclusivetothecontextof
education.Claireisinterestedinhowthe
subjectiveandexperientialnatureof
aestheticpractices,bothinterrogateand
produceknowledge.Paulisinterestedin
theroleofcreativityineducationandthe
roleofeducationincreativity.Theyboth
haveaninterestinthebricolageasa
creativeandqualitativeresearch
methodologyandsociallyengagedpractice.
https://prezi.com/nxsjcmvgwgh/networkdrawingametalearningtool/
www.academia.edu/8581365/Network_
Drawing_A_MetaLearning_Tool
www.facebook.com/groups/186066274882991/
28
WeAllDraw
Saturday,4pm,Dropinworkshop:
MemoryDrawing,withMichelleSalamon
Thisworkshopwillexplorehowmarkmakingcanbeusedtoarchive,storeandretrieveinformation,toassistin
thebattleagainstthetransienceofmemory.Participantswillusedrawingbothasacapturemechanismand
storagedevicewithaviewtoassemblingcapturedimagesintoacommunalnarrativespacereconstructedfrom
theirindividualmemories.Intermsofwhathappens?wewilllookathowdrawingcanbeusedtorecord,
conceptualiseandcommunicatespaceandcontentandtoaddresswhatdowelearn?askwhethertranslating
whatweseeintomarkshelpsembedthememoryofalocation.Thecollectiveoutcomewillformthebasisfor
furtherresearchintohowmarkmakingisusedtoarchive,storeandretrieveinformationandsubsequentlyto
embedmemories.
Theseexperimentswillbeaimedatdevelopingapracticeofcreativeimaginationasaforcethatcanleadontoan
approachemployedacrossartseducationenablingstudentstodeveloptechniquestoachieve"higherfaculties"
ofartintermsofmemory,imagination,intelligence,andfeeling.
MichelleSalamonholdsanMAinanimationfromtheRoyalCollegeofArtandisafreelanceanimatorand
AssociateLecturerinMovingImageontheBAGraphicDesigncourseatCentralSaintMartinsCollegeofArtand
Design.HerresearchprojectDrawingLaboratoryatCSMexploresrelationshipsbetweenthephysicalactof
drawingandthecognitiveactofmemory.In1996MichelledirectedCRIMPLENE,afilmcommissionedbyArts
council/Channel4aspartoftheAnimatescheme,andlaterMOSESANDTHEPASSOVERMEAL,commissionedby
S4CaspartoftheirAnimatedWorldFaithsseries.ShehastaughtdrawingandanimationoncoursesatLondon
CollegesincludingJohnCass,ArtMediaandDesignDepartmentofLondonMetropolitanUniversityandUAL.
MichellesrecentpaperDevelopingaStrategyforAssessingCreativity:theCreativeSpiralwaspublishedinthe
journal
Investigationsinuniversityteachingandlearning
,andherpaperpaperMemoryandAnimationwas
presentedatAnimatedRealitiesaconferenceatEdinburghUniversitySchoolofArt.Michelleregularlyposts
sketchestoUrbanSketchersandUrbanSketchersLondonandtoherownblogMemoryBox,exploringthe
extendedexperiencesofsketchinginpublicplaces.
michellememorybox.blogspot.co.uk
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WeAllDraw
Saturday,4pm,Dropinworkshop:
VerbalDrawing,withJoannaNeil
Exploringexperiencesoflooking,seeinganddescribing:Howcanweusewordstocreateandhelpusunderstand,
thinkaboutandpreparefordrawing?
Lookingatanunfamiliarobjectyouwillbeaskedtocreaterichdescriptionsofyourobservationsasanaudio
recording.Youwillbeencouragedtothinkaboutyourrecordingasaverbaldrawingorapreliminarysketch.
Youwilluseyourwords,pauses,corrections,repetitionsandstumblesasalinethattracestheformsanddetails
oftheobject.Therecordingyoumakeisadrawinginitsownrightbutalsoservesasapreparatorysketchthat
willberelistenedtoforfurtherdrawingsusingmoretraditionalmaterials.Theverbaldrawingrecordsthe
processoflooking,thinkingandsensemakingtobeexperiencedagain.
YouareinvitedtodiscussyourexperiencesandcontributetoadigitalautoethnographicPhDresearchproject.
Thereisalsotheopportunitytoparticipateinacocreatedsoundpieceforexhibition.
JoannaNeiliscurrentlyworkingonherPhDattheUniversityofGlasgow.SheisbasedintheschoolofEducation
wheresheisbringingtogetherherresearchinterests:Arts,EducationandTechnology.ThePhDexploresthemes
aroundconversationalreflectionandhowtechnologycansupportandenhancecreativeandreflectiveprocesses.
Herbackgroundandfirstdegreeisinfineart(painting)withadevelopedspecialismintofinearttextileswithfree
machinedrawingbeinganimportantpartofherpractice.Arecurringthemethroughherworkhasbeenan
interestinthemakingprocess,theprocessofmakingwork,sometimestheworkbeingaboutprocessandthe
processbeingvisibleinthework.Thiswasfullyexploredinarecentdigitalautoethnographyresearchproject,
whichledhertoexamineherapproachestodrawinginnewways.
JoannaistheprogrammeleaderfortheFdAandBA(Hons)topupprogrammesintextiles,fashion,interiordesign
andlecturerincreativedisciplinesatUniversityCentreBlackburnCollege.Herresearchblog:
https://feltlikeit.wordpress.com/ Anexampleofadigitalautoethnographicresearchprojecthere:
https://drawnconversation.wordpress.com/
DescriptionofMazeCoralVerbaldrawing3.00minutesfromTheHunterianMuseumResidency:
http://feltlikeit.podbean.com/e/descriptionofmazecoral/
30
WeAllDraw
Saturday,4pm,Dropinworkshop:
TheContingentSpace,withThomasAlbrecht
Iaminterestedinthecontingentnatureofmarkuponasurfacethatisfundamentalindrawing.Iproposetowork
withagroup,orparticipantscomingandgoing,inthemakingofachalkboarddrawingthatconstantlychangesas
participantscreateinadynamicandresponsiveway.Theephemeralwaymarksexistonachalkboard,aswellas
therelationshipofthesurfaceandmaterialtoeducationalenvironmentsworldwide,providesawonderfulway
forparticipantstoviewtheactofdrawingasafluidresponsesystem.Workingwithtemporalmaterialona
surfacethatbearsthetraceofchangeandrecordsadditiveandsubtractivemarkings,Iwillinviteparticipantsto
contemplatedrawingasanactionofthemindandbodyworkinginconcert,involvingbothplayandconsidered
response.
ThomasAlbrechtsliveartprojects
haveexploredritualandlanguagein
publicspaces,galleries,andmuseums,
proddingculturalbeliefsandindividual
doubts.Currentinterestsinvolve
durationandelementsofAbsurdist
Theatre,layingbarecontingencyin
humanconstructionsandslippage
betweentruthandfiction.Albrechthas
performedthroughouttheUnited
StatesandinEurope,notablyatGrace
ExhibitionSpace,NewYork;
DefibrillatorPerformanceArtGallery,
Chicago;PanoplyPerformance
Laboratory,NewYork;Dimanche
RougeParis;andduringfestivalssuch
astheBrooklynInternational
PerformingArtsFestival,Monthof
PerformanceArtBerlin,
TheSphinx
Returns
curatedbyWhitneyV.Hunter
atGraceExhibitionSpace,and
PerformatorioIVintheDominican
Republic.
HereceivedhisBFAfromtheRhodeIslandSchoolofDesign,aMasterofArtsinReligionfromYaleUniversity,and
hisMFAfromtheUniversityofWashingtoninSeattle.HeservesasAssociate
ProfessorintheArtDepartmentattheStateUniversityofNewYorkatNewPaltz.Hehaslecturedontopics
rangingfromteachingpedagogy,ritualandperformance,andcontemporaryvisualpracticesinvenuessuchas
theSchooloftheArtInstituteofChicago;SchoolofVisualArts,NewYork;ColumbiaUniversity;theCollegeArt
Association,NewYork;theQueensMuseum,NewYork;andtheInternationalSocietyforReligion,Literatureand
CultureinStirling,Scotland.HeservedastheMenilScholarattheYaleInstituteofSacredMusic,wasselectedas
aFacultyFellowfortheIllinoisProgramforResearchintheHumanities,andplaysaleadingroleinThinkTank:
IntegrativeTeachingInternational,basedintheUnitedStates.
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WeAllDraw
Saturday,4pm,Dropinworkshop:
DrawingEnergy,withFloraBowden
TheDrawingEnergyprojectwasdevelopedbytheRoyalCollegeofArt,aspartoftheSusLabNWEEuropean
energyresearchproject.Itexploredpeoplesperceptionsofenergybyaskingthemtowrite,draworillustrate
theirthoughtsandreactionstothequestionwhatdoesenergylooklike?Over180membersofthepublic
participatedintheprojectthroughworkshopsandexhibitionsandproducedanarrayofdifferentvisualisationsof
energy.
Wearecontinuingtodevelopthemethodofvisualisingtheinvisiblethroughdrawing,togainfurtherinsightsinto
peoplesunderstandingandimpressionsoftheirenvironments.Throughthissessionwewillinvitepeopleto
participateintheresearchandcreatetheirowndrawingsoftheinvisible.
FloraBowdenisanMPhilPrintmakingcandidateattheRoyalCollegeofArt.From201315shewasaResearch
AssociateforSustainRCAandaresearcherontheSusLabNWEproject,whereshefocusedontheuseofdrawing
tounderstandpeoplesperceptionsofintangibleenvironmentalconditions.
32
WeAllDraw
Saturday,4pm,Dropinworkshop:
Hearts,MindsandGuts,withAngelaHodgsonTeall
http://angelahodgsonteall.co.uk
33
WeAllDraw
Saturday,4pm,Dropinworkshop:
SketchbookCirclesmeeting,withAngieBrew&GaganSingh
AfterayearofdrawingtogetherandsharingsketchbooksaroundtheworldtheDrawingCirclesare(vexcitingly!)
meetingatWeAllDraw.Manyofthebooksarecomingtoo.GaganSinghisflyinginfromNewDelhi.Thisdropin
sessionisforexistingCirclemembersandthoseinterestedintheproject.YoucanjoinanewCircle,orcome
alongtodiscusstheinsandoutsoftheproject.EachCirclehasbetween3and12drawers,whoeachdrawina
sketchbookfor1month.Thebooksthencirculateamongthemembers,usingdrawingasavisualformof
conversation.Thebooksarephysical,sentbysnailorairmail,orbyhandifalocalCircle.
34
WeAllDraw
Sunday,10.30amMasterclass:
DrawingasanActofGenerosity,withKimSloane
Allgooddrawingis,atheart,anactofprofoundgenerosity.Itisagifttous,andispresentedtousasallgiftsare,
orshouldbe.Drawingisevidenceofthought,itisevidenceofcaring,ofempathy,andunderstanding,atitsbest,
itisevidenceoflove.
Howisthatthisevidenceisexpressedindrawing,howisitwecanfeelthissopowerfullywhenweareinits
presence?Thisworkshopwillproposethatdesireisexpressedintheachievementofafullnessofform.Form
shouldbepresentedassomethingwecanpossess.Wearemovedwhenwefeelthispresence,thiscaring,this
needtounderstandandshare.
Wewillengageinexercisestolearnhowtoseeandcreateform;howtomaximizeavolumetricpresenceonthe
page.Themethodologyrequiresnotalentorpreviousexperienceandunderscorestheideathatwecanalldraw!
KimSloaneistheChairofFoundationatPratt
Institutewherehehastaughtforoverfifteen
years.Heisapracticingartistwhohasshown
widelyandtwicewondrawingsawardsatthe
NationalAcademyofDesignMuseum.Mr.
Sloanehaspresentedondrawingandpedagogy
numeroustimesatFATE:FoundationsinArt,
Theory,andEducationconferences,atthe
"ThinkingthroughDrawingConferencein
Octoberof2013heldatColumbiaUniversityand
theMetropolitanMuseum,aswellasatRemix:A
symposiumonorganizedbytheArtandArt
EducationprogramatTeachersCollege,
ColumbiaUniversity,2014.Heisagraduateof
YaleCollegeandtheParsonsSchoolofDesign.
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WeAllDraw
Sunday12:30,LunchtimeFilm:
VisualLiteracy:RethinkingtheRoleofArtinEducation
DirectedbyLisaMolomotandproducedbyCyraLevensonattheYaleCenterforBritishArt.Thisfilmfocuseson
thechallengesofteachingwritingandtheroleartcanplayinabroaderdefinitionofliteracy.Followingaunique
partnershipbetweenthecenterandlocalschools,thefilmalsoillustratesthewayamuseumcanbecomean
extensionoftheclassroom.
36
WeAllDraw
Sunday,2pm,Concurrentworkshop:
BOTH/ANDDRAWING:Howmightdrawingtogetherhelpusexploreaspects
ofanxietyanddepressiondifferently?
withAngelaRogers&DuncanBullen
Thereisagroupofpeoplewhohavelittleaccesstodrawingclassesanddrawingevents,thesearepeoplewith
longtermmentalhealthproblemswhoarenotcurrentlyhospitalised.Theyarelivinginthecommunitybutlead
sociallyconstrainedlivesandfeelunabletoattendlocalartclasses.Theworkshophasitsbeginningsinthe
experienceofteachingart,inparticulardrawing,togroupsofpeoplesufferingfromlongtermmentalhealth
problems.Problemsthatmakeitdifficulttolivewhatwemightthinkofasordinarylivese.g.goingouttowork,
cookingandshopping,travellingonpublictransportetc.
Howmightdrawinghelpusthinkaboutanxietyanddepressiondifferently?Thestruggletotolerateambiguityisa
commonaspectofdepressionandanxiety.Blackandwhitethinkingandthepolarisingemotionsthataccompany
itcanbeatrap,aviewpointthatexcludeswiderpossibilitiesorgreateroptionswhentryingtomakesenseoflife.
Therearepowerfulfeelingsthatsomethingcannotbebothrightandwrong,bothgoodandbad.Collaborative
drawingexerciseswhichencourageambiguitywilloffernewwaystoinvestigatetheseideas.
AngelaRogers
workswithdrawinganddialogueintheirwidestsensesoftenwithstrangers.Shehasshownwork
andhadresidenciesinUK,USAandEurope.ShehasbeenaresearcherinresidenceattheCentreforDrawing,
WimbledonCollegeofArtandaResearchFellowattheCreativityCentre,UniversityofBrighton.Sheholdsa
PracticeledPhDinvestigatingdrawingasameansofsocialinteraction.ShecurrentlyteachesontheFineArtMA
attheOpenCollegeoftheArts.Herresearchisavailableat
https://independent.academia.edu/AngelaRogers
DuncanBullen
isanartist,academicandwriter,who
drawsasawayofslowingdownboththeactivityofmaking
andofvisualacuity.Hehasaparticularinterestintheinterrelationshipbetweenthepracticeofdrawingandthe
practiceofmindfulnessmeditation.
DuncanisProgrammeLeaderforFineArt/Photography,MovingImageand
SoundattheUniversityofBrighton.HestudiedPrintmakingattheRoyalCollegeofArtandwassubsequentlya
recipientofaRomeScholarshipspending199192attheAccademiaBritannicaRoma.Hiswritingincludesthe
chapter
DrawingColour:BetweentheLineandtheField
inTheMobilityoftheLine,(2013)publishedby
BirkhauserVerlag.
37
WeAllDraw
Sunday,2pm,Concurrentworkshop:
Exploringandevaluatingdrawinginthefieldofmedicine:
Howisdrawingabletosupportmedicaleducationandlearning?
withJennyWright&DimiPanagiotopoulos
Thisworkshopintroducesparticipantstotheworldofdrawinginthemedicalfield,lookingatdifferent
approachesofanalysingempiricaldatafromdentalandmedicalstudents,andwillprovideapracticalsettingfor
exploringtheevaluationofadrawingactivitythatislinkedtobothPhDprojects.Participantswillbeexpectedto
takeanactivepartduringthesession.Theywillbeinvitedtomakeasseriesofdrawingsthatwillbeevaluated
usingdifferentdrawingcriteria.Initiallytheywilldrawfromimagesofthehumanheart,thentheywillmake
drawingsfromanatomicalheartmodels,whichtheywillbeencouragedtoexplorethroughtouch.Discussion
arounddrawingoutcomeswillbecentredonthedifferentrubricsdesignedbyJennyandDimi.Jennyisexploring
thelinksbetweendrawingandthesurgery,lookingatsharedsensoryperceptionandmotorskills.Shehasbeen
workingwithdentalandmaxillofacialsurgeons;studyingthehapticnatureofdrawingandsurgicalprocesses.Key
datahasbeenobtainedfromanalysingdrawingsandcomparingspecificskillswithoutcomesofclinicaltraining,
andworkwiththevirtuallearningsystemhapTEL.
DoesdissectionchangewhatmedicalstudentsdrawinAnatomy?Dimisstudywasdesignedtoexploremedical
studentsunderstandingasthesessionprogresses.Studentsdrawingsfrombeforeorafterexploratory
wholebodydissectionsessionshaveanalysedforinformationalcontentandrepresentationalfeatures.This
projectprovidesanimportantopportunitytoadvancelecturersunderstandingofthedifficultiesstudentsfacing
whenlearninginthiscontext.
JennyWrightisaPhDstudentatUAL,
studyingtheroleofdrawinginmedical
practiceandhaptictechnologies.Her
researchinvolvescollaborationwithsurgeons,
dentists,medicalstudentsandscientists,
withinthefieldofsurgeryandmedical
education.Theresearchhasinformedthe
developmentofvirtuallearningsystemsas
toolsforlearningandfordatacaptureand
collection.Thishasincludedworkwiththe
EYESIophthalmicsimulatoratMoorfields
hospitalandworkatKingsCollegeDental
InstituteusingthehapTELvirtuallearning
system.JennyishonoraryartistatMoorfields
Hospitalandavisitingexamineronthe
AnatomyforArtistscourseatUCL.Shealso
teachesataselectiveacademyschoolinthe
UKandgivesworkshopstoartstudents,
medicalprofessionalsandpatients.
www.jenwrightart.com
DimitriosPanagiotopoulos
isaHigherEducationAcademyMikeBakerDoctoralAwardstudentattheLearning
SciencesResearchInstitute,UniversityofNottingham.PriortoNottingham,DimireceivedhisMSc(Distinction)in
Education,TechnologyandSocietyfromtheUniversityofBristol.Hiscurrentresearchprojectseekstoexamine
theapplicationandeffectivenessofdrawinginthecontextofassessmentinanatomyeducation.
38
WeAllDraw
Sunday,2pm,Concurrentworkshop:
DrawingGym,withMichaelNamkung
DrawingGymexplorestheintersectionofdrawingandathletics.Usingthemovementoftheirbodies,participants
combinestrenuousexercisewithtraditionaldrawinginstrumentstomakecollaborativedrawings.Indrawing
underduress,weexplorethebodyasacognitiveorgan,andlinkconceptsofattentionindrawingtoattentionin
thebodydrawingwithallthesenses.
MichaelNamkung(b.1971,Oakland,California)isamultidisciplinaryartistbasedinMiami,Florida.Drawingon
thelanguageofsportstrainingandathleticperformance,Namkungsworkexploresthesensoryexperiencesof
drawingunderphysicalstrain.Throughperformance,video,installation,andtheparticipationofothers,he
investigatesquestionsofprocess,materialityandperception,specificallyintermsoftheirrelationshiptothe
body.NamkungholdsanMFAinDrawingandPaintingfromSanFranciscoStateUniversity,wherehewas
awardedtheCollegeHood.HehasperformedandexhibitedinvenuessuchasSFMOMA,YerbaBuenaCenterfor
theArts,andHeadlandsCenterfortheArts.Honorsincludethe2010JamesRosenquistArtistinResidentin
Fargo,NorthDakota,anIndividualArtistCommissionCulturalEquityGrantfromtheSanFranciscoArts
CommissionandanInvestinginArtistsGrantfromtheCenterforCulturalInnovationin2011,andaTanne
FoundationAwardin2012.NamkungiscurrentlyAssistantProfessorofDrawingatFloridaInternational
University.
39
WeAllDraw
Sunday,2pm,Concurrentworkshop:
Collaborative,NarrativeDrawing,
withLucyLyons,PatrickLetschka&PhilippaLyon
Workingwithourcapacitiesfordescriptionandformemory,thisworkshopwillinvestigateourresponsesto
drawingasbothanarrativeprocessandaresponsetonarrative.Drawingisneverneutralorunivocalandthis
workshopwillconsciouslyusedrawingasasociallyandcollaborativelyframedprocess.Itwilldecentrethe
ocular,foregroundingtheauditory,imaginary,sensuousdimensionsofdrawingasameansofthinkingaboutand
analysingnarrative.
Buildingonobservationsandexperiencefromdrawingwithmedicalstudents,medicsandsurgeons,the
facilitatorsareinterestedintheapplicationsofthisdrawingapproachacrossarangeofdisciplines.Itrequiresno
specificlevelofcompetenceorexperienceofdrawing,astheaimistoinvestigatewhetherandhowparticular
approachestodrawingmightstimulateandextendourmoreusualmodesofthought.
LucyLyons:Artist,LecturerinDrawingResearchatCity&GuildsofLondonArtSchoolandArtistinResidenceat
BartsPathologyMuseumwhereshecoordinatesDrawingParallels,aShareAcademyprojectinpartnershipwith
UCL,UALandACE.Thisresearchprojectinvestigateswaysartisticencounterswithfoetalandneonatalspecimens
canofferawaytogivethesespecimensanopportunitytoberevaluedandappreciated.Shehasalsorun
Drawing4SurgeonsworkshopsforsurgicaltraineesatBarts,DrawingPathologyforstudentsatStGeorges
MedicalSchool,andteachesvisualnotetakingforsurgeonsforonMEd.atImperialCollege.
PatrickLetschkaisseniorlecturerattheUniversityofBrightonin3DDesignandCraftandvisitinglectureratthe
RoyalCollegeofArtinJewelleryandMetal.Hisprimaryfocusisthehandmadeobjectanditssignificancewithin
liturgicalcontexts.Heisinterestedinobservationalandcommunicativedrawing.Patrickfoundedadrawing
courseformedicalstudentsandcraftstudentsin2009attheUniversityofBrighton.Thiscoursehasbecomethe
subjectofacontinuingresearchprojectwithcoresearchersDrTAinsworthandDrPLyon,examiningtherole
andpotentiallearningbenefitsofcrossdisciplinarydrawingforstudents.HeisalsoamemberoftheUniversity
ofBrightonDrawingResearchInterestGroup.
PhilippaLyonisaResearchFellowintheCollegeofArtsandHumanities,UniversityofBrighton.Followingher
PhDinSecondWorldWarpoetryandaperiodspentsupportingaHealthProfessionsresearchnetwork,she
movedintothearts.Shehasresearchedartanddesigneducationfromhistoricalandcontemporaryperspectives
andcuratedexhibitions.Hercoreresearchfocusisinthefieldofapplieddrawing,exploringtheimpactof
crossdisciplinarydrawingeducationandtheuseandvalueofthedrawingthatoccurswithinclinical
consultations.Sheisalsointerestedintheuseofdrawingasavisualresearchmethod.Sheconvenesa
crossdisciplinarydrawingresearchgroupattheUniversityofBrightonandisinterestedmorebroadlyin
facilitatingartshealthresearchcollaborationsanddevelopingconstructivemethodologiesforartshealth
projects.
40
WeAllDraw
Sunday,2pm,Concurrentworkshop:
Play,Chance,andComics,withMattFinch
Thishandsonworkshopexploressocialformsofdrawing,usinggamesandperformanceinbothphysicaland
digitalspaces.
Takingfocusawayfromdraftsmanshiptoexploretheuseofcomicsinoralstorytellingandplaybothonand
offline,thesessioninvestigateshowdrawingcanbeincorporatedintowaysofthinkingandmakingforallages,in
andoutoftraditionallearningenvironments.Participantswillmakeacollaborativebiographicalartworkusinga
3Dcomicsformat.
Norobotswillbenecromanticallyensouledduringthecourseofthissession.
MattFinch
writesandmakesfunthingsforpeopletodoinpublicplaces:
everythingfromzombiesieges
and
digitalgames
to
libraryburlesque
.
MostrecentlyhewascreativeproduceronLambethLibraries'
FunPalaces
festival,andledthepilotofthe
State
LibraryofQueensland'sonlinecomicsmaker
.
http://matthewfinch.me/about/
41
WeAllDraw
Sunday,2pm,Concurrentworkshop:
Knucklebones:Theartofmakingyourmark,withSuzetteSnyman
AgainstthebackdropoftherhythmicalbeatofAfricanmusic
(DjembeandMarimbas)thisdrawingworkshopkicksoffwith
anAfricanchildrensgameknownasknucklebonethrowing,
alsoreferredtoasdolossethrowing.Therhythmofthemusic
andtheactoftossingdolossesimultaneouslyinvolvedifferent
kinestheticsensesofthebodyandactasacatalystforaseries
ofangularandflowingdrawingmotions.Charcoalsreceptivity
tobodyandhandmovement,handpressureanditsversatility
fromsensitivetodramatic,boldmarkmaking,makesitanideal
toolforenrichingtheuniqueexperienceoffreeand
spontaneousmarkmakingduringtheworkshop.
Handmadeknucklebonestructuresordolosseareprovided
forparticipantstoperformtheplayfulritualoftossingdolosse
tostartaseriesofspontaneousmarkmaking,dotsandlines.
Thedolosseandmusicprovideanavenuetoaccessinternal
narratives(andemotion)thatthroughthedrawingprocess,
getsexternalised.Oncetheimplicitismade
explicit,drawingsprovideastartingpointfor
furthermanipulation,explorationand
dialogue.Theworkshopisaimedequallyatfirst
timedrawersandadvanceddrawers.
SuzetteSnymanisamemberofstaffattheInformationDesigndivisionattheDepartmentofVisualArtsatthe
UniversityofPretoriainSouthAfrica.SheisresponsiblefortheImagingandVisualisationsubject,acoreand
practicalsubjectfortheBAInformationDesigndegreethatisconcernedwiththefundamentalprinciplesof
drawingasamethodofinquiryandatoolforproblemsolving.Shecoordinatesthesubjectfromfirsttothird
year.Shehasbeenteachingdrawingtoundergraduatestudentsaspartofthesubjectfortwentyyears.She
providespostgraduatesupervisiontoHonoursstudents,inkeepingwiththethemeoftheroleofdrawinginthe
designprocess.Herresearchinterestisontherelationshipbetweendrawingandcognitioninimagingand
visualisationprocessesineducational,researchandcommunicationcontexts.HerMastersinInformationDesign,
Lendingahand:Aphenomenologicalexplorationoftheactofdrawing,isdueforsubmissioninOctober2015.
42
WeAllDraw
Sunday,2pm,Concurrentworkshop:
NavigatingIrreducibleHumanity(withaPencil),withThomasBosket
Thefirstphaseoftheworkshopwilladdresshowwe
think,howourbrainworksandwhatpartsofthose
activitiesaremostbeneficialtocreativity.Ourbrain
formsmeaningbymetaphorandanalogyandmost
ofourconnectionsaresimplifiedorlogicaltoserve
ourbasicdailyneeds.Theydonotserveourcreative
minds.Entertainmentiswhatweknowaboutour
world,itisaffirming.Artischallengingandbrings
intoquestionmanyofourassumptionsandbeliefs.
Artexpandsourworld.
Inthisphasewewillformteamsandplaywith
metaphorinawordgamethatleadstomaking
drawings.Thisexerciseisusedtoexposeourbrains
naturalinclinationsandhowtoovercomethemfor
thesakeofenteringastateofoptimalcreativityand
tobringintoquestionourproclivitytosatisfice.
Inthesecondphasewewilltakesomesimpleobjects
andfilterourobservationofthemthroughthe
insightswemayhavegainedfromphaseone.The
goalistoquestionourpresumptionsandtofeedour
brainfreshunbiasedinformationsothatwemay
havethemostfertilecreativegroundtogrownew
insightstofamiliarsituations.Sectionsofmybook
thataddressperceptionandintentwillbeusedto
illuminatethisprocessinaconcretefashion.
1.
Materials/spaceneeded/numberof
participants
Anymaterials,butsimplerisbetter/Anyspace/Anynumberofpeople.
2.
Idealduration
3hours.
3.
Whotheworkshopisusuallyaimedat?(agegroup,school/gallery/communitycontext,etc.)
Peopleneedingasomedeeptimetoexplore.
4.
Intendedoutcomes
Joy.Agreatersenseofunderstandinginregardstoonesownpractice.
43
WeAllDraw
5.
6.
Stepbystepinstructionswithtiming(includingpointsfordiscussionifappropriate)
a. Sittogetherfor2minutesinsilence.
b. Pickanobjectyouwouldliketointerpretorunderstandbetter.Placeitinalocationthatis
yours.
c. Agreetosupportoneanotherandcreateaspacethatsupportsnotionsofjoynotfear.
d. Createapottoplacewrittenblurbsin.Explainthateveryonewillwriteablurbofwhatthey
wouldliketoseedoneindrawingandplaceitinthepot.Otherswillrandomlypullthese
tasksoutofthepotandperformthem,astheyseefit,indrawings.Oncedone,pleasepulla
newtaskandwriteoutanewonetoleaveinthepot.
e. Eachpersonwilldrawtheirtaskofvariousattendeeschosenobjects.Onegoalistodrawone
drawingforeveryotherpersonintheroom.Thisissharingyourinnerself.
f. Thisconcludesthefirsthalf.Inthesecondhalfhaveparticipantslookoverthedrawingsintheir
individualspacesanddrawaresponsetoalltheotherattendeesdrawingsoftheirobject.
g. Guidelines:donthurtyourselforanyoneelse.Ifyoucomeintothespaceyouagreetoworkby
theguidelines.
h. Generalsharingattheend,butleavingroomforsilencesothattheworkcanpenetrateour
minds,bodiesandsouls.
Yourreflectionsonthebiggerpicture(upto1500words).
ThisideacamefromTasksbyOliverHerring.Italsoderivedfromthelackofsittingandcontemplatingwhatwe
aredoinginaquiet,deepmanner.Thepurposeistodiscoversomethingnewinourownworkbyreflectingon
howothersseesomethingwearepassionateabout.
Thiscanbeadaptedmanyways.
Oneobstacleisthelackofunderstandingaboutcreativeversuscriticalthinking.Mostpeopleseeksome
understandingthatissimplymentalandweareaskingforadeepernonverbal,bodilyunderstanding.
OnegreatoutcomeoftheLondonversionwasmyinabilitytospeakforcedmetoteachtheworkshopinsilence.I
spokeinthefirstfewminutestosetitupandthenweallworkedinsilence...evenattheend,therewasverylittle
talkback.Peoplecametomeafterwardsandexpressedhownurturingthiswasandhowitestablisheda
strongersenseofgroup.asmanypeoplehadcomefrommanydifferentcountriesandlanguagewasabarrierto
anempatheticunderstandingofeachotherandthework.Thissilenceallowedthemtoconnectinwaysthat
wordsmaylimit.
ThomasBosketteachesatParsonstheNewSchoolandhastaughtworkshopson:ColorBots(colortheorytaught
throughbasicrobotics),andExploringPerceptionThroughInterpretation(interactivedrawingexploration).
Additionallyheteachesworkshopswithafocusonfundamentalaspectsofperception;howwesenseourworld
andtherebyinteractwithandcreatefromitswonders.ThomasstudiedpaintingatParsonsandreceivedhis
M.F.A.fromYaleUniversityin1995.AsanAssistantProfessorandCoordinatorofGeneralStudioandTimeat
ParsonshehasdevelopedtheColorTheory,TimeandDrawingcurriculatowardamoresociallyoriented
educationmodel.HeattendedthePlayaartistsresidencyin2012andwasfilmedforthePBSseriesOffBooks
TheEffectofColorsegment.Heisparticularlyproudofastudentnominatedaward:DistinguishedFaculty
MemberoftheYearatParsonsin2002.PleaseseehislatestventuresatNorthSchoolStudio.
Sunday,3.30pm,SpecialGuestperformance:
ReflectionsonThinkingthroughDrawing,withMattFreedman
44
WeAllDraw
MattFreedmanisanartistandwriterandlivinginRidgewoodQueens,NewYorkCity.Recentpublicationsinclude
thegraphicmemoirRelativelyIndolentbutRelentless,publishedbySevenStoriesPressin2014.Heteachesinthe
FineArtsandVisualStudiesprogramsattheUniversityofPennsylvania.WithartistandpercussionistTimSpelios,
FreedmanhascreatedtheEndlessBrokenTimeseriesatGallery10inBushwick,Brooklyn;monthlymusic,
drawingaspokenwordperformancesthatdrawonjazz,vaudeville,improvisationaltheaterandlightningsketch
traditions.BrokenTimestoriesmeanderfromonethingtoanother,endingupfar,ornotsofar,fromwherethey
began.
AreviewofMatts
BrokenTime
performancethatisinthecurrentissueofBomb:
http://bombmagazine.org/article/2271828/mattfreedmanandtimspeliossiendlessbrokentimei
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WeAllDraw
OngoingspecialGuestperformance:AdmittingthePossibilitiesofError,with
KirstenLavers.
Penonpapermeditationsonnotbeingperfect,makingmistakes,whatisleftbehindandsobecomespossible.
Thesedrawingsbeginwithaperfectcirclerevealingthemselvesthroughmyrepeatedattemptstoperfectlycopy
it.Drawingstakeplaceasliveperformanceforspecificsites,inconversationwithworkplaceteams,by
commissionorprivatelyinmystudio.Thenumberofcirclesdrawnandthepensorpencilsusedaredetermined
bythedrawingsmeditation.
Iwillbeworkingonadrawingthroughoutandinbetweenthesymposiumsactivitiesandwelcomeyour
participationandconversation.
Aformernurse,KirstenLaversstudiedatDartingtonCollegeofArtsgraduatingin1991subsequentlyteaching
thereonboththeVisualPerformanceandPerformanceWritingdegreecourses.Shehasbeeninvolvedina
numberofpublicartprojectsandextendedcollaborationsincludingtheZwillingeProject199296(withMelanie
Thompson)andTNWK19972007(withcrischeek).Shehasalsoworkedextensivelywithhomelesspeoplein
variouswaysmostrecentlyasfounderofFLACKasocialenterpriseinvolvinghomelesspeopleineveryaspectof
theproductionofamonthlylistingsmagazineforCambridgeUK.Sheiscurrentlyfocussingonaseriesoflive
drawingprojectsentitledAdmittingthePossibilitiesofErrormostrecentlyatPerformanceArcade2015
Wellington,NewZealand.
www.kirstenlavers.net
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