Beyond Drawing
curated by Arno Kramer
Felicity Clear, Marleen Kappe, Romy Muijrers, Kiera O’Toole, Marisa Rappard, Mary-Ruth Walsh
Uillinn West Cork Arts Centre 23 July to 8 September 2022
Opening with guest speaker Caoimhín Mac Giolla Léith
A publication designed by Oonagh Young, featuring an essay by writer and curator Caoimhín Mac Giolla Léith will be available soon.
curated by Arno Kramer
Felicity Clear, Marleen Kappe, Romy Muijrers, Kiera O’Toole, Marisa Rappard, Mary-Ruth Walsh
Uillinn West Cork Arts Centre 23 July to 8 September 2022
Opening with guest speaker Caoimhín Mac Giolla Léith
A publication designed by Oonagh Young, featuring an essay by writer and curator Caoimhín Mac Giolla Léith will be available soon.
Kiera O’Toole, Weaved Drawing from reworked drawings, 2022, ink, acrylic, graphite on paper, 500cm x 500cm x 20cm approx. Photography by Jed Niezgoda
Kiera O’Toole, Weaved Drawing from reworked drawings, (detail) 2022, ink, acrylic, graphite on paper, 500cm x 500cm x 20cm approx. Photography by Jed Niezgoda
Kiera O’Toole, Weaved Drawing from reworked drawings, (detail), 2022, ink, acrylic, graphite on paper, 500cm x 500cm x 20cm approx. Photography by Jed Niezgoda
Kiera O’Toole, Weaved Drawing from reworked drawings, (detail), 2022, ink, acrylic, graphite on paper, 500cm x 500cm x 20cm approx. Photography by Jed Niezgoda
Kiera O’Toole, Weaved Drawing from reworked drawings, (detail), 2022, ink, acrylic, graphite on paper, 500cm x 500cm x 20cm approx. Photography by Jed Niezgoda
"This group exhibition exploring drawing includes new and site-specific work by three Irish and three Dutch artists curated by Dutch artist and curator Arno Kramer. Drawing is a speculative and exploratory process, and many contemporary artists are testing what the parameters of a drawing can be. Charcoal, pencil and ink have been supplemented with materials such as wire, tape, wood and steel. Artists are experimenting with materials such as smoke, water, light and air, and methods of presentation such as installation and film."
This exhibition captures a moment in contemporary drawing practices, it invites the viewer to viscerally engage with drawing through an expanded field which opens up new possibilities. Several of the works are site specific and constructed on site over time and in relation to the physical building, all are experimental and explorative, while holding an authenticity and sensitivity to the core of drawing practice.
This approach to drawing lies at the heart of the practice of each artist selected for Beyond Drawing - three artists from Ireland and three from The Netherlands – by curator Arno Kramer.
Based on diagrams of wind speed and direction called hodographs, Felicity Clear’s large scale, site specific Hodograph drawing is made from elastic and paper tape, where light and shadow become part of the spatial drawing to skew perspectives and challenge perception.
In her work, Marleen Kappe explores the borders between drawing and installation presenting partially abstract worlds referring to artificial urban landscapes. Her mixed media work Drifting Fragments comprises architectural elements which start as two-dimensional drawings on the wall and transform into three-dimensional shapes on the floor.
Romy Muijrers drawings are about time, each line drawn or erased in their making becomes part of the work. She tries to represent feelings of longing or loss, a fleeting encounter or attraction and repulsion through figurative and abstract forms in a space, a landscape or a construction.
Kiera O’Toole’s recent weaved drawings comprise hand cut strips of layered graphite, varnish and acrylic on paper, woven into objects which are site specific, in that they attempt to create a ‘holding space’ where the viewer’s awareness of their felt bodily experience in the presence of the drawing unfolds, as the drawing affects the viewer.
Marisa Rappard’s large-scale drawing Body by Proxy, combines abstract and figurative elements, an overlapping montage of shadow figures, silhouettes, body parts and architectural perspectives reflecting the alienating effect of technology and the endless stream of information technology brings.
In her drawings and paintings, Mary-Ruth Walsh has created a language of seductive surfaces. The works appear like imagined architectural proposals displayed in such a way as to create a double take with the viewer. They highlight the artists’ interest in the relationship between permanence and impermanence and the Anthropocene.
Text from Uillinn West Cork Arts Centre, Ireland and Drawing deCentered
www.westcorkartscentre.com/beyond-drawing
This exhibition captures a moment in contemporary drawing practices, it invites the viewer to viscerally engage with drawing through an expanded field which opens up new possibilities. Several of the works are site specific and constructed on site over time and in relation to the physical building, all are experimental and explorative, while holding an authenticity and sensitivity to the core of drawing practice.
This approach to drawing lies at the heart of the practice of each artist selected for Beyond Drawing - three artists from Ireland and three from The Netherlands – by curator Arno Kramer.
Based on diagrams of wind speed and direction called hodographs, Felicity Clear’s large scale, site specific Hodograph drawing is made from elastic and paper tape, where light and shadow become part of the spatial drawing to skew perspectives and challenge perception.
In her work, Marleen Kappe explores the borders between drawing and installation presenting partially abstract worlds referring to artificial urban landscapes. Her mixed media work Drifting Fragments comprises architectural elements which start as two-dimensional drawings on the wall and transform into three-dimensional shapes on the floor.
Romy Muijrers drawings are about time, each line drawn or erased in their making becomes part of the work. She tries to represent feelings of longing or loss, a fleeting encounter or attraction and repulsion through figurative and abstract forms in a space, a landscape or a construction.
Kiera O’Toole’s recent weaved drawings comprise hand cut strips of layered graphite, varnish and acrylic on paper, woven into objects which are site specific, in that they attempt to create a ‘holding space’ where the viewer’s awareness of their felt bodily experience in the presence of the drawing unfolds, as the drawing affects the viewer.
Marisa Rappard’s large-scale drawing Body by Proxy, combines abstract and figurative elements, an overlapping montage of shadow figures, silhouettes, body parts and architectural perspectives reflecting the alienating effect of technology and the endless stream of information technology brings.
In her drawings and paintings, Mary-Ruth Walsh has created a language of seductive surfaces. The works appear like imagined architectural proposals displayed in such a way as to create a double take with the viewer. They highlight the artists’ interest in the relationship between permanence and impermanence and the Anthropocene.
Text from Uillinn West Cork Arts Centre, Ireland and Drawing deCentered
www.westcorkartscentre.com/beyond-drawing