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DRAWinternational - Events

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November 2017

AiR - OPEN STUDIOS

It's the end of the year!

 

The last Open Studios at DRAWinternational for this year 2017, artists Tae Eun Ahn (South Korea), Tomie Seo (Japan) and Agnes Jones (UK) invite you into their studios to see their works.

 

Do come and join us to discover, exchange and celebrate drawing in all its forms.

We will share a festive apéritif!

 


May 2017

AiR - OPEN STUDIOS

Artist in residence Diane Perndt (AUS) opens her studio to the public, come and hear her presentation on creative dilemmas, see her work and exhange ideas.

Wednesday 31 may at 7.30pm

 


March 2017

AiR - OPEN STUDIOS

Artist in residence Tatjana Buisson (South Africa) opens her studio to the public, come and see the culmination of two her month residency at DRAWinternational.

 


November 2016

AiR - OPEN STUDIOS

Artists in residence Doris Fend (Austria), Alicia Dupont Lievens (France) and Alžběta Wolfová (Czech Republic), invite you into their studio spaces.

Sunday 27th November from 3,30pm.

Come and meet the artists, see their work and share a glass of mulled wine!

1 rue de l'ancienne gendarmerie, 82160 Caylus.

 

 


October 2016

AiR - OPEN STUDIOS

To celebrate the end of her one month residency at DRAWinternational, ANDREA FERRIGNO invites you into her studio to discover her drawings.

 Friday October 28th from 6.30pm
1 rue de l'ancienne gendarmerie, 82160 Caylus.


Also in residence are ALZBETA  WOLFOVA (Cz), DORIS FEND (AUT), ALYS ROSE GREEN (UK)


Do come and join us for a chance to meet the artists, discover their work and share an aperitif.

 


October 2016

AiR - RESIDENCY RESTITUTION

POETIC PERFORMANCE 'Surgant Liberi'

The collective CAMBOUIS, present their research developed during their residency at DRAWinternational during the month of May 2016.

Melanie Gabu - Installation
Thierry Sterckval - Fretless basse
Sarah Turquety - Poetry and vocals

Sunday 2nd October at 6pm.
1 rue de l'ancienne gendarmerie, 82160 Caylus.
 
An aperitif will be served and you will have the chance to meet all our artists in residence.

 

 


September 2016

AiR - OPEN STUDIOS

To celebrate the end of her two month residency at DRAWinternational, Elke Sada (D) invites you into her studio to discover her drawings.

Tuesday September the 27th at 7pm.
1 rue de l'ancienne gendarmerie, 82160 Caylus.
 
An aperitif will be served and you will have the chance to meet all our artists in residence.

 


August 25th 2016

AiR - OPEN STUDIOS

CRIS FRANCHEVICH (BRAZIL/USA),
CHRISTL BERG (TASMANIA),
ELKE SADA (GERMANY),
LAURA ROSE EDMUNDS (UNITED KINGDOM)


To celebrate the end of their artist in residence programme, the artists invite you into their studios.

Thursday 25th August at 7pm

 

Do come and join us for a chance to meet the artists, discover their work and share an aperitif.

1 rue de l'ancienne gendarmerie' 82160 Caylus.
 


 


28 July 2016

AiR - OPEN STUDIOS

DARCY JOHNSON (CAN), LUCY SIYAO LIU (CAN), LAURA DONKERS (UK), ALEXIS CALLENDER (USA), NINA MARKKULA (FINLAND), CARLA STETSON (USA).

To celebrate the end of their artist in residency programme, the artists invite you into their studios.

Thursday 28th July at 7pm

Do come and join us for a chance to meet the artists, discover their work and share an aperitif.
1 rue de l'ancienne gendarmerie' 82160 Caylus.
 

 


June 2016

OPEN STUDIOS

To celebrate the end of her three month residency at DRAWinternational, Kim Anderson (Aus) invites you into her studio to discover her drawings.

Wednesday June the 22nd at 6,30pm.
1 rue de l'ancienne gendarmerie, 82160 Caylus.
 
An aperitif will be served and you will have the chance to meet all our artists in residence.

 


April 2016

OPEN STUDIOS

Here we go, the start of our AiR programme 2016!

Open studios -Tuesday 12th of April at 7pm
1 rue de l'ancienne gendarmerie' 82160 Caylus

Do come and join us for a chance to meet the artists, discover their work and share an aperitif.



ANASTASIJA KOMARNYCKYJ (AUS), CAROL SMITH (UK), EMILIA RINALDINI (USA)

 


Octobre 2015

OPEN STUDIOS AND LIVE MUSIC

Its the end of the season - so make the most of it !

Our last artists in residence are opening their studios on Wednesday the 28th of october at 7pm
Rdv :  8 rue du château, 82160 CAYLUS.

There will be drinks, music and dance.

Looking forward to seeing you soon

 


September 2015

OPEN STUDIOS AND LIVE MUSIC

This Saturday 26th September at 7pm - 5 artists in résidence open their studios situated '1 rue de l'ancienne gendarmerie'.

We are very pleased to have a group of musicians - flute, saxophone, bass guitare and drums.

Please come and join us for an evening of discovery and exchange.

An apéritif, in the company of the artists, will be offered to you.

 


August 2015

OPEN STUDIOS - ARTISTS IN RESIDENCE

Saturday 29th of June, four of our artists in residence open their studios to the public.

DRAWING and VIDEO INSTALLATION

The visit will start at our new studios n°1, rue de la'ancienne gendarmerie and continue with a video installation at n° 8 rue du Château, 82160 Caylus.

To follow an aperitif will be served in the terrace, where you can meet and chat with the artists.

 


June 2015

OPEN STUDIOS - ARTISTS IN RESIDENCE

This saturday 27th of June at 7,30pm - four artistes in residence open their studios to the public.

DRAWING - INSTALLATION - PERFORMANCE

The evening will start at our studios situated '1 rue de l'ancienne gendarmerie' followed by a tour of the village 'science, sorcery - medecin and magic' and end at our studios 8 rue du Château.

Come and join us for an evening of discovery and friendly exchange.

 


June 2015

OPEN STUDIOS - ARTISTS IN RESIDENCE - LUI MEDINA (PH) - STAVROS PAVLIDES (GR)

The studios will be open from 18h.

 


May 2015

OPEN STUDIOS - ARTISTS IN RESIDENCE

DRAWinternationals studio's at the 'Ancienne Gendarmerie Nationale' will be open to the public on Sunday 24th May and Monday 25th May from 3pm - 6pm.

You are invited to come and chat with the artists in residence and discover their creative practice.

 


March 2015

OPEN STUDIOS - ARTISTS IN RESIDENCE - ROBERT LUZAR - AGITA STEINBERGA

To celebrate the start of our 2015 Artist in Residence programme and inaugurate our new studio spaces, Robert Luzar and Agita Steinberga will present their work to the public.

The studios will be open from 7.30pm and at 8pm there will be a performance piece by Robert Luzar.

 


Septembre 2014

OPEN STUDIOS

Artistes in Residence, Chloe Bensahel, Jesica Lewit, Tomie Seo and Manuel Wegria, open their studios to the public.

 


September 2014

OPEN STUDIO - ARTISTS IN RESIDENCE - BRUNO PATYN - LIN CHAU

Often a drawing or a work of art in general is seen as a means of communication between the artist and the spectator, but my drawings are not conceived in that way. When I am painting I have a conversation with myself through the painting and the moment I cannot take the conversation any further, the work is done. My process of painting is therefore a non verbal way of thinking, placed in a visual framework. The painting helps me to structure the work I am doing inside myself, as a work of integration. I bring parts of myself to the surface and integrate them in my full being.
The drawing is not trying to deliver any message, reach out to the world, or express my deepest emotions to an anonymous spectator. I am merely thinking out loud. That doesn't mean another person can't have a conversation with that same painting, it will just not be a conversation with me. The end result of the drawing is not the drawing, but the endless possibilities of thought and conversation that may arise through it, and the excuse of gathering here and bringing people together.


Bruno Patyn


Drawing is a core element of my work. Due to its availability, I have been using white drawing paper in most of my past work, but recently I am drawn to using rice paper more and more. I like its semi translucent and subtle quality. The ink seeps deep into the paper and they become one. This makes mark making exciting. It is these qualities that attract me, and less of the conventional Eastern artistic style. However, once these materials are used, they are immediately seen as Asian style work even though the subject matter is not based on Eastern philosophy or principles. This led me to become interested in the significance of material and explore different ways of making work that might bypass reliance on one’s judgement on material’s historical and social context. This drawing residency has become part of my research.


Lin Chau

 


July/August 2014

EXHIBITION - ESPACES DE MUSIQUES - JACQUES HUE

Music has played an important role in Jacques Hue's life and artistic practice. It has become an every day necessity.

Jacques encounter with the composer Roger Tessier in 2007 was instrumental in relation to his future work. He devoted two years to a body of work that was a direct response to the music of Roger Tessier exploring various approaches to sensorial mark making, in different media, palette and form to produce over sixty drawings and paintings.

As a result of this process of analysis and synthesis, Jacques felt the need to further this research and approached other musicians for example Jean Yves Bosseur, Pierre Boulez…  He also explored other musical genres such as Ravi Shankar (India), medieval music, Mozart (Requiem) and a variety of Asian music.

This initial enquiry led him to work which began to evoke his own inner sonic sensory feelings.

His is a universe of vibration, sound, colour, rhythm and form. Jacques Hue's paintings reveal 'musical spaces', they are the fruit of an in depth study, a response to diverse sources which reflects an inner and outer world of sensory experience.

 



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July 2014

OPEN STUDIO - ARTISTS IN RESIDENCE - DIANE RICHEY-WARD & MONICA RIZZOLLI

My recent drawings represent an ongoing series entitled, “La Vitesse de l’Idee”, which investigates the potential of drawing mechanical imagery. By layering structural elements of French farming machinery, I find an unlimited source of configurations: ideally dramatic and anthropomorphic in nature.
I have a continuing interest in line, and how it relates to motion and energy in a work of art.
I attempt to create an environment where the vigour, or force created by the form is retained in the piece. By seeking a delicate balance between improvisation and resolution my goal is to retain a certain mystery and an unpredictable outcome.   These drawings are created through a build-up of charcoal and pastel images on paper - with an search for a certain reverberation between layers.

Diane Richey-Ward


I am developing a series of drawings written in Processing computational language and executed on the Java platform. The processing language permits the insertion of random variables on the code, making the drawings slightly different each time the program runs. Each drawing represents one specific geographic coordinate and a specific time based on my personal experience of the space. By adding objective and subjective data, historical information, a textual narrative, movement and the code itself, I intend to create an approximation between the map that I am drawing and the territory that I perceive. This work continues my previous research, which investigates the interrelationship between three concepts:  the social and physical space; the individual perception of the space, and the representation of that space.

Monica Rizzolli

 


June 2014

Kazuki Nakahara - Finalist FID 2014

Kazuki Nakahara - Artist en Résidence at DRAWinternational 2011, is a finalist of FID - International Drawing Prize for Young Artists 2014.
His works will be exhibited at the Catherine Putman gallery In Paris in June 2014.

FID PRIZE is an international competition dedicated to contemporary drawing.
15 candidates were selected among 300 for the nominees exhibition at The Drawing Box gallery in April. Now 3 among the 15  are selected for the finalists exhibition at Catherine Putman gallery:

Camille Benarab-Lopez, Kazuki Nakahara et Tsama Do Paço

And the jury’s special mention goes to Hajime Yamada.

The opening will take place on Thursday June 19th 2014 from 5 to 7 4 pm at Catherine Putman gallery in Paris.

 


July/August 2014

DRAWING +

DRAWinternational - OUTREACH PROGRAMME

DRAWING +  


I believe in an ecology of the imagination.

I believe in a social ecology and cultural contributions which enhance the quality of life through artistic activities.

Conflict and aggression are not intrinsic to humanity, they are reactive and constructed behaviours.

I dream of a village that is tolerant and diverse, with an exchange of innovative ideas leading to a fuller more worthwhile and stimulating environment.

We can determine our destiny and our environment. We know what needs to take place.

Artists are invited to respond with a proposal for a one or two month residency to encompass drawing with another medium.

We are looking for individual and collaborative projects and can accommodate up to eight artists.


Please contact us for application procedure and fees.

 


May 2014

EXHIBITION - AFRIQUE(S) MONOCHROMES - ATELIER SOF


Behind the workshop 'Atelier Sof' lies a painter.

A childhood spent in West Africa, where most of his family stretching several generations were born and have lived.

As a child, he discovers Senegal; he travels;  he spends endless hours with his father cutting, pasting, and editing 8mm film. He browses over tiny images, studying them one by one, and placing them end to end.

Bush village; portraits. Family legends: his grandfathers, Ubangi-Chari or Kayes.

Adolescent he arrives in France. Fails to achieve a place at Art School.

He works, travels, draws, and writes.

He trains as a typographer.

He starts to investigate new typography and ways of evolving the concept of 'the book'

2011: first works Afrique [s] monochrome.

        Memory; time; space and absence ; a sign, a line, reading; the search for a presence.


stephanefelix60.wix.com/ateliersof

 






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April 2014

OPEN STUDIO / EXPOSITION

ARTISTS IN RESIDENCE - DANIELLA TURBIN (UK) AND JACK CANDLISH (CAN)

My work is a site responsive investigation of the synthesis of the physical and psychical perception of the world through the activity of drawing.

My drawings investigate the threshold of abstract and physical architecture to include the joining of space, as characterised for example, by staircases, passage ways and roads which in turn combine to form impossible and paradoxical intertwined space.

Daniella Turbin

My drawings reflect an exploration into reciprocal nature, that being the relationship between an individual and the environment.

As humanity reshapes the physical environment it inhabits, so does the environment shape the way in which we think. The worlds shifts and changes and in turn so do our interpretations and interactions.

Jack Candlish

 



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September /October 2014

Is your creative practice predominantly drawing ?

Communication through drawing - A residency for artists, writers and musicians.

Owing to a recent cancellation. We have one available residency space for September /October 2014 at DRAWinternational.

We are interested in an artist who has an open minded and experimental approach to drawing. We invite you to take a look at the works to date on our website and make a proposal which offers a dimension not yet represented.


We look forward to your proposals.

The Board of DRAWinternational.

 


October 2013

ARTIST IN RESIDENCE - SUSAN WALSH (USA)

'The change in shadows due to the earth's rotation is the single most important indicator that time is passing. Consequently, noting changes in color of daylight and in the cast of shadows is the most reassuring means we know to mark the movement of time'.
Leonard Shlain, in Art and Physics

One of the most persistent dialogues in my work as an artist, is between loss and the visual evidence of the passage of time. Each visual image becomes a Memento Mori of time and spaces in transition. In the altered dimension of grief, after one suffers the pain of the loss of a loved one, one's relationship to time is reassessed: time feels too long, or it feels too short, or it seems to stop moving. One waits for signs: the mysterious and ultimately reassuring alchemy of time, presence, and form. I would like to wait for signs during this residency and produce a physical manifestation (drawings), of that waiting.  

Susan Walsh

 


September 2013

ARTIST IN RESIDENCE - JEANNINE COOK

Presentation and demonstration - Silverpoint

As a child in East Africa, I spent endless hours in a darkroom with my photographer grandfather, watching black and white photographs appear, as if by magic, in developing trays.  Their monochromatic beauty ultimately contributed, I now realise, to my fascination with the drawing medium of silverpoint. Drawing with sterling silver is demanding.  The medium develops slowly, like a black and white photographic print. Its intensity of execution allows me to concentrate on the familiar. I reaffirm connections with my sense of place, with rhythms of tides and seasons, with light moving, changing, transforming everything.  For me, silverpoint is a subtle, quiet medium that provides a counterpoint to today’s high voltage world.  Perhaps that is not surprising, given that this medium, known generically as metalpoint, was born in the contemplative atmosphere of 12th century European monasteries.

Silverpoint allows me a shimmering dialogue with my surrounding world.

 


September/October 2013

ARTIST IN RESIDENCE - SANDE WATERS (CANADA)

I have two bodies of current work which have a predominant theme referencing iconic female symbols.  My large drawings are conceptual visual metaphors of female bodies. One of my drawings was five feet high by thirty feet long and required repetitive gestural mark making, taking several months to complete. To me, the physical and emotional environment one experiences results in choreography of unique gestures that may seem meaningless, and often we are not conscious of them, but they actually create form that defines who we are.  My smaller more recent drawings are a study of rather engaging and playful ‘Goddess’ symbols.


www.sandewaters.com

 


August 2013

ARTIST IN RESIDENCE - BARBIE KJAR (AUSTRALIA)

A Tasmanian artist in Quercy

"During the residency at DRAWinternational in Caylus, France I am focusing on drawing portraits from life of seven people who live in Caylus and seven hand tools.

In some cases I am drawing the portrait of the person involved in their work and interacting with the various tools of their trade.

I have worked on drawings of Nathalie Céré in her atelier and in my studio.
The images drawn in her atelier have focused on the act of upholstery.
It appears to be a very physical craft which involves an almost sensual relationship with the chair.
It is like a dance and struggle at the same time and a metaphor for human relationships- the push/ pull effect."

Barbie Kjar - Article la dépêche 26/08/2013

http://www.ladepeche.fr/article/2013/08/26/1695394-caylus-barbie-kjar-une-artiste-tasmanienne-en-quercy.html

 


August 2013

INTENSIVE DRAWING WORKSHOP - CELIA EID (BRAZIL)

It is a little picture that lit a flame in my soul.

A child lying on his back,  on the ground, draws on a large white paper spread on the floor. His face is hidden by the legs of a wooden stool laid on the ground. His arms are behind his head. He is drawing a big round line. He draws many of them and he will certainly do a lot more. It looks like he doesn’t see what he is drawing. He and a friend fill the huge white paper on the floor with graphics. They have the face of the happiness.
As soon as I saw this image on their net page, I sent an email to Drawinternational. I also want to learn how to draw from under a stool: this is my project.

 
I am a digital artist. I create animations frame by frame on contemporary music. Still, sitting on a chair, eyes open, I draw on the screen’s restraint area.
I fight, immersed in this virtual and immaterial world, against oblivion of my own body. Traditional expression techniques; painting, lithography, drawing, help me to fight against. Touch with the stone and ink made me come back to the world of sensible and gesture. I practice it all tirelessly and whenever I go back to my good old chair in front of the computer, I found my body recharged with energy of the 'real'.
Celia Eid

Celia Eid was born in Brazil and is currently based in Paris, France. She creates her animations using traditional stop-frame animation in the computer. While still living in Brazil, Celia Eid won awards for her work as an illustrator and graphic designer. In 1994 she published the graphic novel Penare. After training in digital media she worked for two years in post-production for television and then moved to France to pursue her activities in animation as an independent artist. She has created animations extensively for live music performance and often collaborates with composers and musicians. Since 2005 her works have received repeated presentations at many international festivals.


The Stool workshop

The photograph alluded to and the aim was:

‘simply to ‘discover new dynamics i.e. relationships//mutuality/difference/influence in relation to previous workshop  objectives for extended periods of time’ (PhD thesis- ‘The Choreography of Drawing’, 2003).

The two students Emily Clark and Neil Davies were artists I had not worked with before.


Drawing with an everyday inanimate object experimented with limitation and interference as a positive element to demarcate gestural acts within certain physical constraints. In so doing the stool become a trace of itself in relation to the body as it endeavoured to find form within this interactive relationship. The stool knows not what it does while existing in the space of a body which can only act in a partially non knowing way. This experience helped the student artists collide with something challenging and stimulating, which on reflection nurtured other meanings and other methods for experimentation. In this way the drawing was for ever in the becoming, never quite arriving, yet still providing a perceptive record of a particular time and space.

When one finds something new it invariably leads somewhere else equally as stimulating and at times deeper and more enduring.  

The workshop will experiment with the body in various situations and influences with drawing processes/ methods/ materiality which come as close as possible to the concept and intended nature of the time and space of each drawing to be made. It will explore notions of: duration, silence, gravity, repetition, limitation, collaboration, mass, sensory deprivation, scale, individual autograph/style.

John McNorton 17- 6- 2013

 




July 2013

NIAMH MERC - Open studio/exposition

As an artist, I have continuously used drawing as an expressive reaction to what I see and how I feel. My intention for this residency with Drawinternational was to struggle with being honest within my own artistic practice through working alone in the studio and being on a residency which also relies on objective discussion with other artists.  

With this practice of drawing as an emotive tool comes a continuous struggle to try to formulate and feel the abstract feelings that we all share when we think and dream about ourselves and others. Through opening up a public space it can help towards making sense of thoughts and feelings that are not realised, hidden, denied, misunderstood or not discussed in an objective manner.


Niamh Merc

 


July/August 2013

ARTIST IN RESIDENCE - ALISON GRAHAM (UK) 'DRAWING and CLAY'

In July/August 2013 ceramic artist Alison Graham (UK) will be exhibiting her PhD research work and more recent experiments at DRAW international’s gallery and studios.  

She said in a recent correspondence:

I was searching through the artist residency sites and came across yours and it brought back the most wonderful memories of my time in Caylus in October 2005 with the MA Ceramics from CSAD. It was truly a life-changing experience for me, as it sparked off an overwhelming enthusiasm for drawing and mark-making that has developed in my ceramic work over the past 8 years, through the MA and PhD. I just wanted to say thank you for your  enthusiasm, encouragement, support and understanding.


Alison's studio will be open to the public to give insight into her ideas and working processes,  which clearly integrates drawing as a vital component to her overall creative practice.  

DRAWinternational are happy to introduce this funded residency opportunity which is the first of an annual award to an artist whose work promotes drawing in a contemporary context.

http://www.aligrahamceramics.moonfruit.com/

 


15th july 2013

Open Air Cinema - Caylus

'Footprints' - 'traces de pas'

The exhibition 'traces de pas' will close on the 15th of July with the projection of the film 'Kinky Boots'.

When an exhibition celebrates the past and present through "the shoe".

The discovery of a collection of shoes from the once shoe shop 'Frauciel' in Caylus was the inspiration for this exhibition - it explores art and craft , the traditional and the contemporary.

This exhibition is like a work in progress, evoking memories, history and discussion.
We would like to thank everyone who has contributed to this 'work'.

We invite you to discover and share the experience.

Kinky Boots is based on a true story, the film follows a traditional Northampton shoemaker who turns to producing 'fetish' footwear in order to save the failing family business and the jobs of his workers.

 




 


July 2013

ARTIST IN RESIDENCE- NIAMH MERC (IRELAND)

I am so pleased to have artist and teacher Niamh Merc as a resident artist next year. She was one of my MA students at Cardiff during 1996/7.
 
I have included an excerpt from her thesis The Importance of Drawing as a Mathematical Expression, 1997 which I still find pertinent and two images of her finely made drawing shoes which formed part of her MA exhibition.

'Niamh Cooney's Pencil Shoes were used to record an action of movement with the feet which were pushed and dragged along the ground in an intentional movement "to think of form in terms of definite measurements" and to reduce "all proportions . . . to forms such as triangle, square, circle" (Klee, 1956, p.22-23). This intent is "a thought in act: it is in this sense that I am certain of myself" (Merleau-Ponty, 1964, p.22). The thoughts within the pencil performances make use of a tactile motion rather than seeing themselves.'

Klee, Paul (1956), Klee. Volume I. The Thinking Eye, edited by Spiller, Jurg, Lund Humphries, London and Bradford
Merleau-Ponty, Maurice (1964), The Primacy of Perception, Northwestern University Press

 


June/July 2013

Exhibition 'traces de pas'

John and Grete discovered the existence of a collection of shoes from the shop 'Chaussures Frauciel' at the bottom of rue droite opposite the church in Caylus.

They have curated an exhibition around this collection which will take place in both their gallery 'DRAW' and at the 'Studio l'Olm' run by Eleonoor Klinkert et Steven Van Den Berg, in Caylus.

Through a collection of shoes dating from early 1900, the exhibition 'traces de pas' will celebrate traditional and contemporary art and craft.  Two exhibition spaces and two shop windows (one of which is the original shop 'Frauciel') will give an insight into the world of shoes by craftsmen, artists and a young designer.

Why we're passionate about these shoes:

The shoe shop Frauciel is part of our local heritage, a shop passed down from father to son with shoes that reveal craftsmanship and fashion over many years.

Shoes for drawings that walk : DRAWinternational - Centre for research for contemporary drawing practice.  Artist in residence Niamh Merc created shoes as a tool for drawing.

Our encounter with a young local designer Olivier Taco who has created the "Iguaneye" an ultra-modern and ultra-minimal shoe.

John's mother used to work at the shoe factory "Clarks" in Plymouth, UK. He grew up with shoes around the house,  wear test samples for the company.

Grete's first job 'a saturday job' whilst still at school was in 'Saxones' a shoe shop, she's been a shoe fan ever since.

and in addition

French women are the European champions for buying shoes (6 pairs per year) !!

A celebration of the past and the present through objects, images and film.

The exhibition will open at 7pm on June 15th and will close on July 15 with an open air cinema showing the film comedy "Kinky Boots" .

For more information:
tel: 0563241619

 



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April 2013

KATIE BELCHER - Open Studio/exposition

My work at DRAWinternational is centred around the experience of plucking a bird for the first time, a pheasant. The awkwardness with which I completed this previously “routine” task, is the inspiration for a new drawing project. I’ve documented the process, and categorized and documented its trace—the feathers. I aim to describe the pheasant itself, as well as the action of plucking.

 


April /May 2013

ARTIST IN RESIDENCE - VACANCY

FILL THESE SHOES?


This very late notice is because we have had a last minute cancellation for April/May 2013. We are now rescheduling and have an opportunity for May/June 2013. If you are interested please contact us at info@drawinternational.com to take up this fast track drawing opportunity.
 

 


March 2013

HANNAH SARAH JAMES - Open Studio

My practice encompasses the gestural motion of the hand drawn mark, typically through site-specific drawings using thousands of straight lines.

 


March 2013

HANNAH SARAH JAMES - (UK)

Is your drawing practice primarily concerned with ideas of abstraction ?
We are interested in an artist who has an experimental approach to drawing as abstraction, notation, repetition and/or geometry.


We are pleased to announce that Hannah Sarah James has been selected to be our partially funded artist in residence for March 2013.

‘The mark-making potential of line has long been taken for granted and little consideration given to the mystery inherent in a simple line’ - Ziba Ardalan.

‘To the eye of the viewer the drawing objects, with their torn surfaces and empty spaces, crossed by lines and threads, are traces of a journey that point to the possibility of
the existence of other planes. They suggest the existence of fullness in the empty.’ - Anna Maria Maiolino.
 
My works explore the idea of obsession through mark making and the process of repetition through drawing. My research is predominantly process driven. I think through the making. A process of mark making that is made up of the repetitive building of lines and the continual reflection of this. This relates to the often site specific nature of my work.

Space is essential within my practice; much of my work is developed through response to space, time and surface. Through drawing I have been able to develop a process that enables the viewer to feel emerged in the obsessive nature of the work and appreciate the time and the labour process. Exploring the physicality of the space the nuance and subtleties of that wall/ surface. Drawing attention to something that is largely overlooked and therefore the building itself becomes integral to the piece of work.

The marks made are non-representational; they are an exploration of surface, a marking of time spent with a site and a demonstration of labour. This is also an attempt to slow the viewer down to appreciate the time spent to make this. This is my way of highlighting that this futile gesture does mean something, something slow and process based.

The process of making acts, as a form of meditation, there is a sense of hypnosis involved in the repetition of the mark making and it is this meditative nature of the work that I want to translate to the viewer.

Hannah Sarah James

 


February/March/April 2013

ARTIST IN RESIDENCE - KATIE BELCHER (CANADA)

Through my artistic practice I have been exploring the ways in which humans process experience and build memory. I find drawing to be an effective medium through which to make these explorations. It is intuitive and evokes experience without defining it. My drawings are centrally composed, densely modelled and make significant use of erasure. Animated by the tonal variations and marks beyond their outer contours, the previously static subjects appear to be emerging from or dissolving into the white ground.
Using my own experience, found objects and museum archives as a starting point, I exploit the image’s function as a mnemonic resource for myself and other viewers. My drawings examine experiences, how we record and remember them, and what we lose with time and progress.

katiebelcher.com

 


January/February 2013

ARTIST IN RESIDENCE - KELLIE O'DEMPSEY (AUSTRALIA)

DRAWinternational is an innovative and supportive location for contemporary arts practice. It is in this experimental and critical thinking environment I want to incubate my current performance drawing investigations.
Exploring expanded drawing as documentation I aim to investigate notions of inhabitation and inclusivity via a site-specific performance practice.

Kellie O'Dempsey
Recipient Australia Council Artstart Grant

 


October 2012

ARTIST IN RESIDENCE - JULIE PAYNE (AUSTRALIA)

My initial training in the field of sculpture and architecture pushes this desired three dimensional approach to drawing as an object.

Apart from producing a body of work that I would use in upcoming exhibitions in Australia, I would greatly enjoy the liaison with other artists to share ideas and techniques.

www.juliepayne.com.au

 


September/October 2012

ARTIST IN RESIDENCE - ANNA HAYES (UK)

Highlighted in my oil paintings are the inaccuracies within Google Street View, exemplifying how our own perception of the world is so unlike that of a photographed image. What is at all is barely there, and in appearance what is; is beauty.
My watercolour paintings in appearance have a documentary nature, but are conceived as a form of mapping a place or home, a combination of juxtaposed figurative element, which are then softened by imposing a careful simplification approach to the development of the work. Through this silencing process, disparate narrative images connect or stand alone, creating a subtle, calm, partially abstracted whole. Through the use of carefully selected figurative imagery I am exploring the function of the home, having a sense of place and belonging, together with ideas of remembering, perception and nostalgia. I have developed a calculated system of constructing an image that mirrors my thought process. The technique I employ allows me to reiterate the melding of identities into a unified whole. I build the paintings up using thin layers of dilute colour. By editing imagery I can draw attention to the peaceful moments that can perhaps go unnoticed. A duality exists both visually and conceptually within my work. Physically, it can be perceived as flat and decorative, yet a strong sense of serenity and composure also occurs created by the light tonal palette and the lack of detail. It is to allude to a sense of comfort, peace and sanctuary.

 


September/October 2012

ARTIST IN RESIDENCE - EVAN BROENS (CANADA)

The theories presented by Goethe and his topic of intuitive consciousness as a way of understanding has become central to my working methodology. Drawing has operated as a grounding moment in my creative process and there are aspects of my practice and my work which includes drawing. Yet this way of working has not fully become a secure element in my portfolio.
The DRAWinternational residency is an important opportunity to initiate drawing as its own entity in my practice, rather than being supplementary; bridging practice and theory and, as the website indicates, to locate a contextual framework.

Evan Broens

 


September 2012

ARTIST IN RESIDENCE - NONI BOYLE (CANADA)

Since drawing is central to my practice, I was very excited to find a residency opportunity that seems to celebrate the act of drawing to the extent that DRAWinternational does.  One of the reasons that I wish to do a residency in France has to do with the exploration of place, identity and belonging. My maternal family history has its roots in France (many generations past). I have not spent more than a few weeks in France prior to this, and would welcome the opportunity to stay long enough to absorb a sense of place and develop some work in response.

Noni Boyle

 


June 2012

ARTIST IN RESIDENCE - JULIA HITCHCOCK (USA)

Objective

Projects for me have always been the generative force that begs the next “what if?” “Next question, next inquiry, next body of work,” all manifest themselves in the active moments of working, coupled with the need to satisfy a visual conceptual puzzle.  DRAWinternational has the structure and environment that will enable me to realize my next project: “the deconstruction and disintegration of the human form within its environment.” Visually describing the event of a human body actively chasing after its’ own basic cellular structures and acknowledging human existence as a non linear progression of events much like the firing of synaptic connections of nerve endings, the subtle act of a last breath or the jolting, violent surge of the last ounce of blood pressing against the interior lining of an exposed vein.  These types of events ultimately lead to states of physical and spiritual transitions from one chemical or cellular state to another. It is this transition, interspace and state of being that I wish to elucidate in the large drawings.

www.juliahitchcock.com

 


June/July 2012

ARTIST IN RESIDENCE - MIO HANAOKA (JAPAN)

One of the biggest subjects of my works is how to grip relationships in durational time.
I want spectators to feel that everything changes all the time, even now.
All objects, including myself, are transforming in order to adjust ourselves to every present moment. We tend to look for a place to stay to make us comfortable, but there is nowhere to stay same. So, I’d like to show the variable present which contains a trace of past and also a smell of future.

Mio Hanaoka

 


May/June 2012

ARTIST IN RESIDENCE - ANDREA POR (CANADA)

The underlying theme of my work is informed by the human condition, i.e., the will to power and its subsequent effects of fear, doubt, anxiety and isolation. I am interested in these emotions and how they contend and relate to the enormity of the world and the ephemerality of life itself. What happens to my achievements and will to power after I die? Who will remember me? To what purpose does my individual will to meaning serve on a grand scale?

Andrea Por

 


18 MARCH 2012

ARTIST IN RESIDENCE- ANOOK CLEONNE (HOLLAND)

Open studio showing Anook's recent drawings at the centre.

 


April/May 2012 (rescheduled)

ARTIST IN RESIDENCE - DAVID NECHAK (USA)

David Nechak has taught for many years and exhibited extensively in the United States of America. He has also exhibited his quirky and humerous ideas in Canada, Ireland and Scotland. He continues to explore these ideas through installation and sculpture with continuing wit and integrity.

 


September 2011-2012

Open Call - A Social Science and Art and Design Collaboration with Prof. Graham Button and Dr John McNorton

Human beings think in the concepts of language, but how they express what they know transcends talking or writing. People perform actions and interact together in language but action and interaction is not confined to language. Therefore if we want to explore what and how people know things, the world we live in, and peoples' relationships to it and to each other we need to do this in modes of communication other than the conventional written form.



Movement, colour, form are other ways to those of text and talk through which people can communicate with one another, or can be used in conjunction with one another to express what someone knows or wishes to convey. Consequently they can all be used to explore our world. This means that the traditional academic boundaries that separate art, human sciences and the natural sciences can hinder our understanding of our world and how we communicate that.



We thus see that the meeting of minds from different disciplines is an open and dialectic opportunity for progress in the way we reflect upon and make reflective decisions about our world and how life actually might be at any particular time. Drawing for instance, is an activity which now is considered as an art form in its own right, yet can actually offer many variables in first order observation, which is, again traditionally thought of as the provenance of the human sciences, and in how one might convey these related reflective outcomes. Through breaking down the barriers between traditional disciplinary perspectives and through other creative opportunities, ideas can collide and may motivate fresh, energetic and rigorous exploration.



John McNorton is an artist and educator who considers mind and body issues through the everyday and more conscious creative action. This world is not one encountered by the eye alone, but through the whole human interactive corporeal sensorium through which we are inexorably a part. This is a body for others, as it exists in its habitual state and focusses on how creative intervention can foster change in ones gesture to possibly result in new form.



Graham Button is a sociologist whose interest in ordinary practical action and interaction is grounded in the relationship between mind and language. He has investigated how people reason about their world and display and use that reasoning in their interactional performances with one another in a diverse range of social settings. For the past few years he has focused upon how people reason about the work they do, and how that can be traded into the design of computer systems.



These two seemingly disparate approaches have come together in reflections that have revealed mutual concerns and interests and provide opportunities to push the boundaries of traditional expression. Both John and Graham are committed in making some difference in how things are and towards how they might possibly be.



It is the intention to research the content and methodology of a selected number of artists at DRAWinternational during their residency. Artist, therefore, who are willing to have their work and processes carefully scrutinised and discussed in preparation for publication can apply stating this in their application. 



A small selection of artists will be chosen during the 2012 according to the type of work produced and the availability of each person involved to mutually agreed dates.

(Etching by Kazuki Nakahara, no title, 2009,19.5x24.5 cm)

 





September/October 2011

ARTIST IN RESIDENCE - KAZUKI NAKAHARA (JAPAN)

I am interested in 'Line'.

I learnt Japanese calligraphy from my father who works as a professional Calligrapher in Japan.

I learnt the strict rule of handwriting and expression from the different forms of Japanese characters.
 Sometimes I practised the same line all day long.

This experience has influenced my interest to draw on paper.

The drawings are made by adding repetitive strokes with a coloured pencil on paper. I form one or many circles which mostly symbolises the Woman with Pigtails. It is not only the humorous form which interests me, but also the long meditative process of drawing. Stroke by stroke, I try to repeat the line with the same quality with a consciousness in the act of drawing itself. I am also  interested in making rules with simple mathematics in drawing. Some round forms stand in a straight line, some make a group with others or make a triangle and some go around regularly. So I amuse myself with the arrangement of motifs and try to express rhythms on paper.


www.kazukinakahara.com

 


July 2011

ARTIST IN RESIDENCE - CHERIE BENNER DAVIS (USA)

I propose to make works by chopping up and rearranging maps and world globes. These will be collected, some prior to arrival and others while in France (both in Paris and possibly also in the local villages near the residency site, if available).

These works will reconsider relationships of the individual to place, space and current geopolitical events through a conflation of the physical and psychological systems used to map our world, lives and movement.

The pieces will be reconfigured to become three-dimensional forms that mimic things like natural phenomena (ex. the shapes of hurricanes in motion), and the globes will be altered in various ways such as a rearrangement of the countries and continents and in ways that distort/destroy their usually round form. 

Source materials that are France-specific like Paris metro maps for instance, might be reconfigured to relate specifically to the approaches to map-making, and concepts of locus, space, and movement there.

Cherie Benner Davis
 

 



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June 5th, 2011

Open studio / Building walls on paper - SARA SCHNECKLOTH (USA)

These drawings emerge from discovering the manmade and natural terrain of the region around Caylus. 
In particular, I have been attracted to the many dry stone walls that mark the area. 
The walls carry a sense of structure, layering, stability, and grace, qualities that I believe can translate from three dimensions to two, and back again.

In an effort to understand the labor and tradition of stone wallbuilding, I spent two days helping with a group (APICQ) to rebuild a length of dry stone wall in Jonty.  Whether working with a large stone to find the most satisfying fit, or gathering pebbles to fill and fortify, I found that the concerns of the wall translate directly into the activity of drawing. 
Whether using stone, ink, or charcoal, the character of the materials suggests technique.  The process of intuitively finding and placing stone after stone mirrors how a drawing builds, mark by mark, with the structure evolving over time and patient labor. Working between the wall and the studio also gave insight into ideas of collaboration and ownership, as each individual's labor became a part of the larger structure, an accumulation of effort, intention, and technique.

When I set to build walls on paper, using drawing materials instead of stone, I found that the same concerns were central. 
What does the wall need to become stable? 
What mark will fortify the whole? 
How do layers build in space, through touch and intuition? 

The utility of the drawn wall differs from that which separates pastures or marks property, but the drawing works as a record of labor and experience, a puzzling over structure and balance, and a hopeful pursuit of integrity.

Sara Schneckloth

 





May/June 2011

ARTIST IN RESIDENCE - SARA SCHNECKLOTH (USA)

How do we hold memory?  How do memories hold us?  I pose these questions as the starting point for my work, as I strive to embody moments of remembering, and consider the relationship between the body’s physical performance of memory and inscriptive practice.

My work deals primarily with imagined microbiological systems rendered on a macro- scale.  I envision and create cells, organs, fluids, and tissues, and seek to assemble the elements into new systems of organic relationship and connection.  I work in a variety of mediums and look for ways to take drawing beyond its traditional definition of “mark on paper.”

I believe that the act of drawing is a way of residing in multiple states of awareness – of present, past, future – of what one is, has been, and hopes to become – of the physical, the mental, and the formal.  I draw as a way to see more deeply, both inside and out, and to elevate the act of seeing to a process that is fully engaging of both body and mind.  In the gesture of a drawing, there abides the question of how human beings hold memory.  I care about how the body holds its history, and how that recollected history can be performed through the act of making embodied signs.


Sara Schneckloth teaches drawing and critical practice at the University of South Carolina in Columbia.

www.saraschneckloth.com

 


April 16 - May 21st, 2011

Exhibition - Digital Dialogues JASON DAVIES/DARREN WILLIAMS (WALES)

The origin of this collaboration was borne out of the desire to be more creative with electronic communicative technology, whereby the process of production is central to the project.
Given our socially and personally shared limitations and imposed parameters regarding time, space and finance, we wished to develop a collaborative art form in which issues of geographical distance, finance, leisure time and working space, could be traversed by the mediation of commonplace technology- the home computer suite.

We are currently engaged in a long distanced collaborative project utilizing the generic email system and creative packages within the home computer suite. Drawing occupies a central role in the work, often being both the initial drawn component scanned into the PC, and an integral part of the images development as it zips back and forth between collaborators in file format.
The mark making is directed using either a drawing tablet or the mouse itself, and drawings are instigated by either collaborator. Although this form of pictorial communication is itself the primary subject matter, each individual dialogue is representative of concerns, expressions and incidents based on our own particular experiences and personal histories. We literally draw out the threads of our daily lives, ritually recording the most pertinent in sketch form.
These ‘diaristic’ sketches are then worked upon and expanded until each subsequent e-drawing reaches completion. The sleeping partner in all of this is the machine, or program itself, for as expansive as the possibilities within each program may be, our choices are still confined within its parameters.

A recent development has seen the project website develop beyond a mere depository for the dialogues into an arena where live works can be instantly uploaded, providing a visual blog. This has coincided with the utilization of photographic imagery collected with the ubiquitous mobile phone.

digitaldialogues.co.uk

 



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March/April 2011

ARTIST IN RESIDENCE - BEN SHEPPARD (AUSTRALIA)

IDEA OBJECTS

Lineal sculpted forms that appear as if drawn into space. These can also be ‘traditionally’ drawn onto photographic images in a larger scale to appear as if in real space. Halfway between the idea and the realised object, these forms present a proposition of a potential form imagined by the viewer.
 
My process often involves the production of 3D drawings or ‘Idea Objects.’ These objects operate as drawings whereby the concept that ‘the thinking happens in the making’ is at the core of their creation. Lines are edited during manufacture in a way similar to those made and erased with charcoal or graphite and an eraser. The lineal aesthetic affects a feeling of an artefact that operates somewhere between the idea of something and the object that it represents.

Ben Sheppard

 


December 2010

Exhibition - YANN LESTRAT - Current works (FRANCE)

Emerging French artist Yann Lestrat presents his latest works.

Creating invariably simple forms that claim an absolute yet unattainable perfection : polished steel, laminated monochrome acrylic paintings and transparent plexiglass plates, Yann's use of techniques and skills from the industrial world contrbutes to his interest in the "finish" of the work but also, paradoxically, his detachment from reality.
His creative research often explores landscape, public spaces and familiar
domestic  objects, to which he introduces unexpected aspects that disturb their common use/  perception and the established order.


9 photographs

The result of several years of photographic exploration that focuses on images of domestic lighting (lamps, ceiling lights, chandeliers), taken randomly on visits and trips.
These images are selected and reworked in order to bring out in each a strangeness/ambiguity that such common objects can sometimes conceal and to which we often pay little or no attention.
Captured in this way the objects take on the appearance of bioluminescent creatures of the deep, or even of spacecraft straight out of a science fiction movie.
Whether from an underwater or inter-galactic world, the photographs carry with them a certain humour, given the modesty of their origin, as well as poetry and imagination.

Nevroz


A sculpture that wickedly condenses and heightens the rudiments of a spirit level : Called Nevroz, the object is made of bakelite and displays a bubble inside a circular window.
Spherical, this precision tool is in perpetual imbalance, it is an impossible and surreal measuring instrument, caught between ordinary object and sculpture.
From the viewpoint of design, the ‘Nevroz’ spirit level is a mobile sculpture set in precarious balance that will not enable one to find the strict line you’re looking for…
Work co-produced by La Criée , Contemporary Art Center, Rennes, with the support of SEPA / Bon Accueil, Rennes.
"Nevroz" Reissued 2010 in partnership with Tamawa (Brussels).

"Et in arcadia ego / Iceland"

This is a body of work explored by the artist since 2003 with the idea to set up and photograph a stainless steel evacuation plug of 100 cm in diameter within the natural landscape . The trip to Iceland, which took place in September 2007, is the first realization of this project abroad.
The book, without text or commentary, presents three series of photographs showing the installation of the plug in the Icelandic countryside, together with the ins and outs of the trip and a set of Polaroids taken after the extraction of the plug. Additionally a DVD insert has two documentary films by Nicolas Touzalin.
 
"Et in Arcadia Ego, Iceland", (2009)  Zedele Editions (Brest)

Public Collections
  • Fonds National d'Art Contemporain
  • Conseil général d'Ille-et-Vilaine
  • Fonds municipal d'art contemporain, ville de Rennes
  • Artothèque de Vitré
  • Communauté d'agglomération "Rennes Metropole"


 









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October/November 2010

ARTIST IN RESIDENCE - BRITT SALT (AUSTRALIA)

My current practice exercises a multitude of ephemeral lines and the transparency of mesh to create works that reposition the way we know and experience space.
I work both three dimensionally making objects, and two dimensionally in drawing.
It is between these two practices that my work mediates between form and space, and defines itself as Monoform; a term I have created to describe the merge of form and space in my practice.
These current works shift between interior and exterior, positive and negative, seen and unseen spaces. As the viewer moves, the layers of these forms merge and separate. The distinctions between the spaces inside and outside of these built forms blur, and the possibility for a new interaction and experience of space occurs.

Britt Salt