Now I would like to focus on unique aspects of hand drawn animations, such as trace and remnant as the driver of meaning rather than an incidental outcome. Drawing on imagery and subject from Caylus and its surrounds, I will to analyse the unique visual language which has been established through my hand drawn animations to date before undertaking explorations of line quality, frame rates, fluidity, motion and stillness, movement and gesture, erasure and removal, to deepen my understanding of formal choices and find new conceptual outcomes within the artistic language of my animations.

Todd Fuller

The spell (feiço) that etymologically competes with the fetish (fetiche), brings the same power to add a value beyond what is seen to the object, but also brings in its essence an action, and the conjuring of the work proposes the act of magnetizing meaning through what is hidden in the signs. The perception of the other.

What I intend to achieve in the A.i.R residency is the process of joining drawing as a means of expressing a neo-feudal perception of the world (in the aesthec character of the composition, in the example of the use of colours and the lack of realistic perspective, in the composition of human figures and its canons and expressions) and the network of values present in regenerave agriculture, which reconnects the current individual with his relationship with land use and the inherent biodiversity of the biome he occupies. The potential present in the location of the A.i.R program, being a rural and medieval city, is perfectly complementary to this possibility, considering the opportunity to use agriculture as a means of project development.

I intend to investigate the relationship between the city (with its feudal past, which does notexist in the Americas) and the concept of land ownership, its relationships and differences that transform the way of living in a community, constituting values, beliefs, connections. Today, what is postulated as the beginning of neo feudalism, deals with the change in the perspective of ownership, increasingly through "rent" (subscriptions to streams, renting space in the

"clouds", mutilnationals that have true virtual feuds, responsible for much of the functioning of human life processes today) and it would be of great value to understand how a city with a history that goes through feudalism and runs through capitalism, flows into a possibility of resignification.

The developed research seeks the systematization of narraves through signs that carry their changing meanings through the history of language.

From this collection of meanings and symbols that we come across during life in all layers of existence, this empirical process of agglutination of meanings and cosmologies emerged, building bridges for connections. In this sense, allegorical images of scenes disguised as sacredness are perceived, seeking through this chimera of significant elements an elaboration of the inherent and universal sacred: the natural cycles and the passage of me, which by a

hair's breadth sllll resist capitalist fetishism.

"If we think that the knowledge produced by men, in the course of me, is not a mirror of the world, but, on the contrary, creates a world and with it possibilities of transit through the invented world, we will be led to propose that all producon of knowledge draws its validity from sharing and not from the coincidence it aims to establish with the object.” Simone

Moschen Rickes

In this way, when viewing a work, we see the sharing of invented worlds, of the observer and the author, a conjuration of multiple meanings, where the meaning is the experience. In the post-truth era, A drawing - painng that seeks the parade of signifiers, which slide without ceasing, not stopping at meanings. An art for the new Middle Age, the Midia Age.

Daniel Gabrieli

come – it is a pattern that takes time to draw; where the activity, the repeated motion, the sound of it and the body that is partaking and aging, cellchanging in the meantime, is as important as the outcome. White noise or grey cloud formations on pieces of paper, that can be combined in unlimited ways next to each other, each drawn sheet being a part of a larger and split up puzzle. Somewhere in that expansion of a split vastness, that I am exploring through drawing, I found words and poetry describing the moment of a sudden short holding of an inbreath – a limbo – a threatening falling that is frozen midway.

In my work I explore the falling movement, both the outer aspects of it, the physicality and gravity , but also the inner facet – the emotional responses, the inner activity of letting go. The drawing and writing in combination with it is yet another step in this (re)search. I am looking for the core of the activity and looking for ways to share and let it come across to others.

The pattern that I have found, and the written words, in the shape of poetry, is something I wish to explore more in order to let this project grow literally and figuratively. I wish to engage with it both embodied and intellectually – to have open and long conversations with others on what is happening in and through the drawing and the texts, where they might tangent thinkers’ and writers’ rich knowledge. And I long for this pattern to expand in space like a fungi that is spreading, that is taking hold of space and time. For this to happen I need concentration for a longer period, which your residency offers, as well as space; a studio space for focused working, but also an exhibition space; to install the works and to take them seriously and play with the

possibilities and share the outcomes immediately.

Cecilia Bengtsson

With a dedicated career of developing and exhibiting work focused on botanical collections, my practice has extended to work with human remains held in pathology and anatomy museums. By combining both traditional and experimental drawing techniques I have developed several new bodies of work for major exhibition. These have been multilayered, intimate experiences that draw closely on the physicality of the internal body, as well as the narrative and history of collected human remains and disease.

In 2016 I was awarded a Churchill Fellowship to investigate how contemporary arts practice is able to reveal scientific collections. This allowed me to visit significant medical and botanical sites as well as institutions in Europe to experience artworks, manuscripts, objects and human remains. The fellowship enabled me to consider how both historical and contemporary artists have worked with and interpreted scientific and museum material in order to bring about understanding and renewed meaning.  Collections that were difficult to access because of their contents, i.e. preserved human remains, or fragile restricted historical material, were a major focus. 

The emotional properties of woven textiles I am interested in centre around topics of memory, personal and social material value and the humanness that is instilled in the very nature of how cloth performs and acts in the world. 

Cloth is receptive. It carries fragments of us, of our history, and in one way or another it informs how we live in the present. It is a material that can be understood as a ‘silent witness to the routines of our everyday lives’; a material that takes on all that we do and all that we feel. 

I noticed the ways in which my methods of weaving were inherently linked to those of drawing. As my visual methodologies of making continue to expand and new ways of materialising my theoretical research evolve, I found drawing begin to occupy much larger and interconnected spaces within my practice. 

When I trace and mark the lines of movement on cloth, the places in which it has responded to my body, where it performs to its material language of creasing, folding, fraying, or gathering, I begin to see the cloth in a new way. I begin to see its material language come to life. By responding to the qualities of its performativity, I can better understand how my body has affected its condition and how in return, its materiality effects my state of being. 

“Human life is lived in this tension between what we have prepared, what we have mastered, and the unknown – the eventualities of things that haven’t yet happened and not knowing where they are going to go” (...the difference between imagination and perception). (Tim Ingold, on ‘The Life of Lines’) 

This residency would allow me the opportunity to further interrogate the importance of drawing within my own practice as well as within the context of contemporary society. It would allow me the dedicated time, space, and freedom to push the boundaries of my current approach to research through drawing. I want to use this time to further explore the connectives between the body, cloth, and the intangible and emotive space between these materials, in evoking and impacting social narratives. I am interested to research in greater depth, the relationships between human experience and our everyday materials, analysing their ontological effects and imperatives through visual and tactile discourse. 

Juhani Pallasmaa, The Thinking Hand, Wiley, 2009, pg. 102. 

For the past two years I have been researching and conceptualizing a project entitled ‘Men God Forgot’ (Les hommes oubliés de Dieu).

I came across rare medical illustrations from the 1930s and 1940s in Egypt, by the lesser known Russian artist Nickola Strekalowsky, who worked at Qasr El Eliny hospital at the time; the largest medical institution in Cairo. The drawings I found illustrate figures of rare bodily formations, to which I was immediately drawn. For me, they captured something beyond scientific purposes, they captured the fragility of the human body in a moment of despair. I have since started a journey of questioning this intertwining relationship between medicine and art through the common lense of the human body. 

In his book, Les Corps vils. Expérimenter sur les êtres humains aux XVIIIe et XIXe siècles (Vile Bodies: Experimenting on Human Beings in the 18th and 19th Centuries) written by Grégoire Chamayou, he ventures into the history of experiments on human beings, and attempts to show that modern science, although apparently neutral, has
a share in the domination and exploitation of individuals whose existence is deemed insignificant. 

This project is above all else a celebration of those vulnerable bodies, focusing on their fragility and beauty, and freeing them from the social stigma that was built around their difference. Through artistic reinterpretation of the drawings that Nickola Strekalowsky drew in the first half of the 20th century, my aim is to create large scale drawings that responds to my research questions: what is the relation between body and pain? Is pain a necessary factor of being human? And could art be our only chance to preserve our humanity as we enter this post-human era? 

I was searching for a residency to continue my practice but mostly; trying something different, DRAWinternational seems like a very good place to explore.

As an artist in residence, I want to include performance in my drawings, to find ways to open up as well the practice as the studio for public. When there are musicians around I would like to work together but mostly I would like to approach drawing as it is an instrument to make sound/music with. I have no experience with the technical bit of this idea but I would focus on this and the performative as a research of my practice. 

Robin Valster

As a dancer, illustrator, and a performer, I am deeply passionate about dancing and drawing. To find the connection between these two areas, I study the performative language of dancing, using the choreography as a notation of body movement. 

I want to make work that explores a connection between action drawing with the dance itself. Shifting the quality of dancing and drawing, transforming the invisibility into a communicable notation.

Drawing Research Residency 'THE INVISIBLE REALM OF POSSIBILITY'

The project will focus upon notions of intention and the physical act of drawing as it arrives as a vectorial force on a material surface. One could say, an infrastructure from where other possibilities collide, from common habitual behaviours toward the realm of the unknown. 

This residency programme is in partnership with l’AiR ARTS and FIAP, PARIS

I explore visual perception and mechanisms of taking choices.

The project I am working on now is based on the iconostasis by Pavel Florensky and on reasoning about the reverse perspective, in particular, about the ability of consciousness to construct a coherent idea of the past based on what it perceives in the present. I was moved by curiosity about the theory that if, for any reason, consciousness would be subject to aberrations in the process of perception, or incorrectly (that is, not the way it was in objective reality) would build logical chains based on currently available data, it can construct a past that does not correspond to so-called objective facts.Working on this project, I, in particular, try to answer the question about the legality of replacing the real biography of a person, especially an artist, with an imaginary one, and whether this new, imaginary biography can also fit tightly into reality and also change it how it does the real one.

I am intrigued by the question of the power of myth-making.

Being firstly educated as an illustrator I faced the question of what illustration actually is. So, passing through number of researches and thinking I found that it is nothing but embodiment of something, that does not have a body.

I turned from illustrator to artist and I am working with construction and deconstruction of visual image in the human mind. I have been exploring ways of grotesque as the process of making choices between important and unimportant. 

Many of my happiest and most vivid memories from childhood involve drawing. 

During the residency I would like to consider how drawing can heal a wounded psyche? How and why does art nourish our heart and soul? 

I am the daughter of a dairy farmer. As a little girl, growing up on a farm was wonderfully visceral and deeply traumatic. From a very early age I was acquainted with the joy and horror of life and death. 

I had to seek salvation as a child growing up in the chaotic farming environment. My escape, alone and immersed in the beauty of the rural landscape, was drawing. Today, I work as an art project coordinator and lead artist in hospitals. Evidence proves how enabling access to the arts significantly impacts on one’s physical and spiritual experience within the hospital environment. As a child and to this day, I use drawing for freedom and drawing for health. 

I draw from life, from memory and from imagination. My work often represents an emotional reaction to past, present or imagined experience. Often blurring the imagined with reality, the work regurgitates and reinterprets lived experiences and explores how they impact on interactions with others. The process of drawing is fundamental to the development of my work enabling, quick and free flowing sketches from direct observations in real life. My current work explores the drawn line extending its possibilities through different processes such as monoprint and etching. 

Monoprint specifically, bridges drawing with printmaking allowing expressive free flowing painterly marks. It allows the irresponsible freedom to change ones mind and the unexpected to emerge. Responding to the surprises of the reveal means that the work is in constant flux and encourages the process of creating the image to become fluid. The discipline within the practice is directed by a will to capture the very essence of the emotions contained within the memory. 

The rural setting of the DRAWinternational residency offers an environment which I can associate with the familiar farming landscape of my childhood. I hope to assume parallels with the setting of Caylus and the landscape of my childhood to trigger emotional response and enable the discovery of new possibilities within my drawing and printmaking practice. 

Dawn Prescott

www.dawnprescott.co.uk 

I am most interested in how objects accumulate in our everyday spaces. My work is motivated by the drama of landscapes and waterways, urban and rural.
I experiment by collecting, and transforming everyday materials, especially throwaways.

Through drawing, and sculptural installation my notions play upon the unpredictable juxtaposition of natural and synthetic matter.

During the residency, I would like to expand my drawing experiments on a larger scale. I would like to begin by working with my current focus on arches and architectural structures, windows, doorways, and liminal spaces. I have been obsessed with arches, as form, and a symbol.  To me an arch is a place of contemplation, and framing.

I am both interested in 2-D investigations as well as 3-D sculptural drawings. 

My works take on forms of tapestries and meandering cascades and waves in space. 

Beginning with chance, and one mark, systems unfold into dreamlike environments.  

www.reeniecharriere.com

I am interested by the immediacy of drawing and my work explores drawing as a place, or even from a place of direct connection with something other. Drawing is a direct, physical capturing of processes in the subconscious and records the immediate response to the landscape we inhabit and any one time. These responses, as recorded through the act of automatic drawing somehow capture a reaction or a process which is more immediate than that of verbal language. 

To me, the visceral nature of a drawn line can capture a sensory experience most effectively because the act of drawing is an embodied act. 

Drawing in and from a new environment allows me to creatively respond to some idea of the unknown which is a recurrent theme in my paintings. My work is always interested by how we process change and what happens within us as a result of change. The Act of drawing becomes a way of recording those emotional, subconscious responses to the very physical, geographical change of environment. My own movement in and through a landscape or a space, to and from a canvas is an extension of that drawing process and one which brings both myself and the work immediately into the present moment of the now.  

For me drawing is an integral thread through an immersive painting practise and my drawings often lead into and through an in depth body of paintings. Extended drawings exploring the musicality of line coupled with vocal recordings are made in an effort to synthesise or somehow record creative process as it happens, almost drawing with or on the frequency of creative process, like musical notation. 

The Residency would allow me to reconnect with this expansive practise of making work having spent twelve months in a socially engaged role researching and educating on pollinator decline and biodiversity through creative workshops, exhibitions and school projects. In bringing my practise right back to the basic act of immersive drawing in a focused environment for a set period of time, I hope to allow my work the direction, time and space it really needs at this point.

Therese Murphy

The experience of my burnt house holds the potency of recollections of memories, and which makes me observe the ashes that exist as twisted shapes that float away by the slight wind; fragmented further into molecules of nothingness. These occurrences put me within a space of vulnerability where I constantly desire to know why the ashes cannot be whatever they ‘were’, ‘are’ and ‘will be’, as they exist.

My enquiry has been with translating private memories into communicated forms with visual tactility and how to bring the memories to the surface within a certain pictorial sensibility. My mind is filled with an undefined imagination, not held by shape or form alone; but informed by experiencing, observing, and communicating with the complexity of existence through the subtle shade of meaning of my surroundings. 

Minute movements lead my thoughts to assimilate traces of forgotten spaces. I see insects trade their patterns as imprints, where the flutter of a wing carries the constant fluctuation of life. I see things covered with a mold and a cloud of dust which obscures and makes them often appear ambiguous and not easy to define. I look at shredded cloth used over time, like a women’s placenta that lies discarded by the womb. The breast of a woman, which holds or their own weight is against the gravity of their aging like a drop of water…

Multiple variations within concealed spaces (connotated/nuanced insinuations) pattern my thoughts and fill my philosophical landscape. These provide me a space of learning which sensitizes me to find my pictorial sensibility to formulate the scope of my aesthetic experiences and frame the subject of contemplation.

I currently compose music and have a great interest in writing music for films and collaborative multimedia projects. My latest teachers include Russell Ferrante and Bob Mintzer of the Yellowjackets (at USC Thornton.)

During a two month stay, one of my project interests would be composing music that integrates modern-Jazz and atmospheric harmony with traditional French instruments including Accordion and old-fashioned guitars. I believe in modern times, there is a big division between "traditional, roots/folk music" and "modern/contemporary" music.

In fact, all music is roots music and can be traced to all parts of the world. That is what I hope to set out to explore. As a current Jazz student, I would also like to take the time to expand upon my portfolio of compositions. I am also very interested in collaborating with other artists in residence.

Lucas Jacaruso

Candice Ivy & Antonio Nevada Martinez: A collaboration


One of drawing’s great potentials is the ability to translate across disciplines
and ultimately reveal the web of interconnected experience within human engagement. Our art practice incorporates drawing as a non-verbal language capable of articulating the depth of human emotion and intellect, as well as the activity that shaped it. Through the process of drawing, we are fascinated with the collaborative experience; the moment control is relinquished and the accumulation of marks embark on an exploratory relationship with no predicted destination, but reflect a present and unfolding range of conversations and possibilities within the engaged dialog.
Last June, Architect, Antonio Nevada Martinez and Candice Ivy embarked on a project to explore drawing’s potential to perform as an non-verbal means to converse. Being immersed and shaped by different locales and cultural spaces, we began an experiment of ‘writing drawings’ instead of letters as a means to share experience.
As a part of our month long residency at Caylus, we propose to continue the thread of our current ‘drawing conversation’. Having worked together on site-specific projects over the past three years, both our creative processes overlap at the juncture of drawing and our shared interest in working with both the physical and abstract qualities of cultural, urban and architectural space. Our previous collaborative encounters have shown us that we possess a strikingly similar aesthetic and embodied energy and rhythm in our line. The continuation of this project is a journey to understanding what it means to connect, share and communicate experience using the language of a mark.