8th Mar 2014 - 9th Apr 2014
University Gallery
Exhibition and book launch
John Andrews, Duncan Bullen, Nat Chard, George Hardie, Antoni Malinowski, Jeffrey P. Turko, Ivana Wingham and The Drawing Research Interest Group (DRIG).
Line is the constitutive moment of every drawing and forms the core element of any design. It cannot be reduced to a purely linear system, but rather takes on complex and dynamic forms that attract the viewer in various ways, both consciously and suggestively. Whether analogue or digital, line is mobile because it unfolds on the surface: as a straight, snaking, zigzagging, bent, interrupted, or even invisible force. The book is a page for page celebration of the manifold aspects of line.
The common interest in the line’s utility underpins the DRIG. It is a notion debated and interpreted in a range ways: as an arts practice, a research method and as having multiple and cross-disciplinary applications. A cluster of research carried out by DRIG members investigates the relationships between drawing practices in different professions or in collaborative, cross-disciplinary education. This cluster has grown through a collaborative research relationship with the Brighton and Sussex Medical School and with medics and surgeons.
Curated by Duncan Bullen, Philippa Lyon and Ivana Wingham. Exhibition and book launch.
Drawing Research Interest Group
8 March - 9 April 2014
Opening hours: 10am-5pm Mon - Sat
Private view 7 March.
Dance Performance: "The Bridging Lines - Brighton"
Yong Min Cho (A+M: Artistic Director) collaboration with Katja Vaghi (Dance Performer ),Leah Wingham (Composer and Music Performer) and Frances Verity Higgs (Music Performer and Viola Player)
7 March 6.30pm
A poem by Yong Min Cho
Where does it begin?
How does it continue?
Where is the meeting point?
Does it disappear?
Where take us
Visible
Invisible
Lines?
Information about the artists:
The ancient Chinese philosophy of brush stroke incorporates the aspect of time. In the process of painting the fourth dimension of time is folded into a two dimensional stroke. When we view the painting the dimensions unfold.
Line has an ability to transgress dimensions.
The meeting of areas saturated with different pigments makes lines. They are borders of chromatic spaces. Paintings are constructed by these chromatic encounters.
Even when I develop my paintings on canvas I take on board the complexities of peripatetic perception. I also work with pigments that dynamically change with light. So I invite these interactions. Then, depending on where you hang the painting, the resulting interaction will be different. This way of working also forces me to take into account the multiplicity of different light / space situations. And then if I was just painting this given wall – there is a particular way in which the light hits the wall, it’s from here to over there – and of course you could say, ‘ Oh, well you could have artificial light ‘, but I tend to work with natural light and use a minimal manipulation of artificial light. Just to make it as simple as possible, and that is my way of working.
