Internationally renowned artists Go Collateral in exhibition at University Campus Suffolk
Sixteen established artists, who all have an East Anglian connection, will for the first time reveal elements from their creative process that would otherwise remain unseen by the public alongside a finished artwork in Ipswich.
Collateral Drawing is being exhibited at University Campus Suffolk’s Waterfront Gallery this month.
The exhibition provides an insight into each artist’s working methodology, exposing various clues and elements integral to the creation of a final artwork.
The exhibition continues through until February 19.
Exhibiting artists include Glenn Brown, Gillian Carnegie, Ryan Gander, Biggs & Collings, Graham Crowley, Kayle Brandon, Bella Easton, Stephen Felmingham, Chris Hawtin, Julian Perry, Rebecca & Mike, John Stark,Michael Stubbs, Trisant,Daphne Warburg Astor and Richard Wathen.
Co-curator and exhibiting artist Bella Easton said “There’s more to an artwork than its finished state, but exhibitions concentrate on that, along perhaps with preparatory studies which act as preliminary versions of that state. Yet there may be any number of by-products from the making of an artwork, and that is what ‘Collateral Drawing’ explores.
“These may take such forms as the stage setting, models or constructions which are created in order to facilitate the work itself; the redefinition of past work as collateral to a future work in which it is repurposed; various means of recycling aspects of a practice; or the marks which result – serendipitously, but with a more than accidental logic – from the production itself.”
“Every artist has their own unique working method that habitually causes repetitive marks to be inflicted onto or altering their working surroundings. Whether dripped, scratched, taped, cut, erased, smeared, hammered: all are repetitive and typically unguarded instances of the process of drawing. The wall, floor or table acts as a raw surface and means to capture these on-going activities that the artist ritualistically performs; the remains of the method left behind is as familiar as it is often taken for granted in an artist’s practice and is rarely publicly exposed. These work surfaces are an integral part and an extension of the drawing process, which are then discarded, or severed from the artwork. They hold a fascination of their own: not just as a documentation of the artist’s creative process, but as an informative insight into the relationship between what is subconscious and conscious in the artist’s drawing practice.”
Co-curator and exhibiting artist John Stark adds “The Waterfront Gallery on the marina docks in Ipswich provides the ideal setting for an exhibition curated with the highest consideration within an educational environment. The main aim here is that we all learn something from the experience, most of all the students that inhabit that space on a daily basis.”
Each artist was approached by the curators, Bella Easton and John Stark, six months in advance and asked to retain the collateral elements of some new work by isolating or documenting elements of their working environment, as a means to record the artists’ subconscious actions around their day-to-day creativity.
These elements were then carefully collated and presented alongside an artwork that the artist produced alongside them during this period.
The Collateral Drawing Series was launched at Plymouth College of Art in February 2014, with the aim to travel around academic and public venues, exploring the central concept through an evolving selection of artists. Since an Anglo - Greek collaboration between six artists took place in Athens in May 2014 and an Anglo - German version between ten artists in Berlin earlier this autumn.
Lisa Wade, head of Department for Arts and Humanities at University Campus Suffolk (UCS), said: “The Waterfront Gallery at UCS is delighted to support the Collateral Drawing exhibition. The collaborative nature of this artistic project is something which we find particularly exciting and relevant given our own creative approaches to the learning experience within UCS Arts and Humanities. We hope that this insight into the more fundamental aspects of the creative process will prove thought-provoking as well as enlightening.”
www.collateraldrawing.org
www.beaston.co.uk
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