Category Archives: Drawing

Flatbed processes

The flatbed process – started with fluid bed series in May.

A kind of intermedial testbed for ideas also leading to final work.

Extend to include a kind of inclusive drawing process where a horizontal strip of paper is used as a substrate – leading to a book, poster, film, score.

Camera on a gantry  (rostrum style) can be used to photograph areas of the strip, print on inkjet and then reincorporate into strip. Layered or 3D (model).  Link to architectural models.

Improvised process.

Camera could also be mounted on a motorised stage hung from gantry for shooting video and stop motion , animation.

Materials – laser cut birch ply, paper, rice paper, bamboo paper, acrylic etc.


The primacy of drawing : histories and theories of practice / Deanna Petherbridge.

The primacy of drawing : histories and theories of practice / Deanna Petherbridge.

Publisher: New Haven, Conn. ; Yale University Press, [2010]Description: ix, 521 pages : illustrations (chiefly colour) ; 30 cm.ISBN: 0300126468; 9780300126464.

In this important and original book, Deanna Petherbridge–herself a practicing artist–affirms the significance of drawing as visual thinking in western art from the 15th century to the present. Scrutinizing a wide range of drawings, Petherbridge confirms a long historical commitment to the primal importance of sketching in generating ideas and problem solving, examines the production of autonomous drawings as gifts or for pleasure, and traces the importance of the life-class and theories of drawing in the training of artists until well into the 20th century. She also addresses the changing role of drawing in relation to contemporary practice and its importance for conceptual artists working in a nonhierarchical manner with a multiplicity of practices, techniques and technologies. In addition to analyzing specific works by Leonardo, Michelangelo, Rembrandt, Goya, Picasso, and other great draftsmen, Petherbridge pays close attention to those artists traditionally regarded as “minor” because of their graphic elaboration or involvement with caricature and play, as well as to the important contribution of women artists in the 20th and 21st centuries. Responding to the vibrant rediscovery of drawing as significant practice in studios, exhibitions, and art schools, Petherbridge proposes an ambitious and novel agenda for the study and enjoyment of drawing.

Mack ink drawings

Relationship between drawing and shadow


Mack drawings


Harun Farocki on editing

a fusion of seeing and writing, of reception and production, practice and theory,

cutting room – Harun Farocki ‘is it comparable to a scientific experiment?”

Gansterer – Drawing a Hypothesis

Eva Hesse drawing / edited by Catherine de Zegher.

Eva Hesse drawing / edited by Catherine de Zegher.

by HesseEva, 1936-1970Zegher, M. Catherine deDrawing Center (New York, N.Y.).

Publisher: New York : The Drawing Center ; 2006.Description: 340 pages : illustrations (some colour), portraits, facsimiles ; 26 cm.ISBN: 0300116187.

Published on the occasion of the exhibition held at the Menil Foundation, Houston, 3 February – 23 April 2006 ; Drawing Center, New York, 6 May – 15 July 2006 ; Los Angeles Museum of Contemporary Art, August – October 2006 ; Walker Art Center, Minneapolis, November 2006 – February 2007. 


Eva Hesse (1936–1970) was a highly experimental artist who continually challenged the conventions of her time. For Hesse, drawing played a unique role, providing the nexus between her works in all media. Eva Hesse Drawing is the first book to explore her drawing process, following her work from drawing to painting and sculpture, and always back to drawing. The book features important, recently rediscovered “working drawings,” providing an intimate look at Hesse’s everyday practice and methodology.
An accomplished draftswoman, Hesse began to develop her wandering, tentative line while studying at Yale University in the late 1950s. Her early 1960s works on paper engaged with visual vocabularies from geometry to biomorphic abstraction. In 1965, Hesse combined her tactile sensibility for materials with her stringlike line to achieve a breakthrough: her astonishing reliefs, which began to bridge the space between two and three dimensions. Balancing the disembodiment of line with its intensified materialization, Hesse went on to develop one of the most innovative oeuvres of the twentieth century, anticipating the hybridization of media and crossing borderlines linking one impossible space to another.