19 May – 13 June 2014
7 Pidnas St, Athens
Vasilis Avramidis | Iris Plaitakis | Artemis Potamianou
Bella Easton | Chris Hawtin | Iavor Lubomirov
There is an important element of drawing, other than drawing as a finished artwork, or as studies for an artwork, which is collateral to any artist’s practice. Every artist has their own unique working method that habitually causes repetitive marks to be inflicted onto their studio surfaces. 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 ongoing 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 studio surfaces are an integral part and an extension of the drawing process, which are then discarded, or severed from the work. 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.
Collateral Drawing explores the relationship between the surfaces of the artist’s studio and the artworks they produce within these surfaces, through the practice of a variety of artists, working in different methods. Each artist was approached by the curators several months in advance and a part of their studio was isolated with a customised temporary blank surface that could then be used to record the artists’ subconscious actions around their day-to-day creativity. These raw surfaces were then carefully removed from the studio, now to be displayed alongside an artwork that the artist produced onto them during this period.
The exhibition is curated by practicing artists Bella Easton and Iavor Lubomirov and responds to their own experiences and fascinations with studio practice. They take further inspiration from works like Sol LeWitt’s large temporary drawings worked directly on the wall (such as ‘Wall drawings 51: All architectural point connected by straight lines’) and sketches by Francis Bacon’s released after his death. Francis Bacon restricted what he revealed about his drawing process, claiming his paintings were performed directly on the canvas rather than being reliant on a literal process of using preliminary sketches and other secondary material. Instead he describes using his reference as merely ’triggers for ideas’. After his death, his friend Barry Joules revealed a large collection of reference material that Bacon had given to him, contradicting Bacon’s own mythmaking, but more importantly gave the public a true insight into how the artist saw the world. Collateral Drawing is a larger commentary on artists’ processes, which aims to open their work to their audience in unprecedented fullness.
The Collateral Drawing Series was launched at Plymouth College of Art in February 2014. The second exhibition in the series is an Anglo-Greek collaboration between six artists – three from each country – and will take place at Beton7 in Athens in May and June 2014
Text by Bella Easton
Curated by LUBOMIROV-EASTON
|In collaboration with Beton7|
|Supported by Plymouth College of Art|
Private View and Documentation
19 May - 13 June 2014
Address:7, Pidnas St, Athens, Greece, 11855
Reception Telephone: +30 210 751 2625