JERWOOD DRAWING PRIZE 2014

Supported by

In association with

Jerwood Visual Arts 171 Union Street London SE1 0LN United Kingdom

Published to accompany the Jerwood Drawing Prize 2014 & touring exhibition.

Copyright © Jerwood Drawing Prize & Jerwood Charitable Foundation.

All or part of this publication may not be reproduced, stored in retrieval systems or transmitted in any form or by any means, whether electronic or mechanical, including photocopying, recording or otherwise, without the prior permission in writing of the publisher.

Catalogue Publication Editors: Anita Taylor and Parker Harris Photography: Benjamin Cosmo Westoby Designed by: Matthew Stroud and Parker Harris Printed by: Swallowtail

ISBN 978-1-908331-17-5

4 Jerwood Drawing Prize 2014 Exhibition Tour Details

5 Foreword, Shonagh Manson

6 Introduction, Professor Anita Taylor

8 Selection Panel

9 Selection Panel Perspectives:

Gavin Delahunty

Dr Janet McKenzie

Alison Wilding RA

12 Catalogue of Works

62 Artists’ Biographies

71 Acknowledgements

CONTENTS

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JERWOOD DRAWING PRIZE 2014 EXHIBITION AND TOUR

16 September – 26 October 2014Jerwood Space 171 Union Street London SE1 0LN jerwoodvisualarts.org

22 November – 4 January 2015Cheltenham Art Gallery And Museum: The Wilson Clarence Street Cheltenham Gloucestershire GL50 3JT cheltenhammuseum.org.uk

16 January – 1 March 2015The Tetley Hunslet Road Leeds LS10 1JQ thetetley.org

13 March – 23 April 2015The Gallery The Arts University At Bournemouth Wallisdown Poole BH12 5HH aucb.ac.uk/about-Us/campus/gallery/

9 May – 12 June 2015The Burton Art Gallery And Museum Kingsley Road Bideford Devon EX39 2QQ burtonartgallery.co.uk

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It is a very special year for the Jerwood Drawing Prize in 2014, as it celebrates its 20th exhibition. In a world all too obsessed with the new, with working at speed and with change, it is an important and unusual thing to be involved in a project which has weathered two decades; growing, yes, but remaining true to its principles and as relevant as ever. It is a project which still, as this year’s exhibition shows, makes space for slower contemplation, more intimate communication and a different kind of language to be shared. It is an achievement to have continued to secure that space, and a pleasure to draw attention to that achievement through congratulating Jerwood Drawing Prize founders Professor Anita Taylor and Paul Thomas for all they have done for drawing.

The Jerwood Drawing Prize is not only embedded in a community of arts practitioners, it can take some responsibility for being the impetus or meeting point for such a community. As a funder, it is a proud moment for us to celebrate our involvement in a project which remains at the heart of artists and art education’s calendars and imaginations. As well as the significant prize monies for artists and its UK-wide touring exhibition, the vast physical submissions process also creates paid opportunities for students working alongside it across the UK. With some of them, I watched this year’s selection panel as they surveyed and considered the multitude of potential exhibitions held within such a submission, plumbing their instinct. There are many shows which could have been made from this, as always, and the exhibition we have is a tantalising reflection of the energy of works and selectors together.

There are many individuals and organisations who each year share in the mammoth task of getting this exhibition on the road. They are acknowledged in Professor Taylor’s introduction and I would like to add the sincere gratitude of the Trustees and team at the Jerwood Charitable Foundation to all who have made it possible, particularly our own gallery team at Jerwood Visual Arts, project managers Parker Harris and the touring venues for this anniversary exhibition.

Shonagh Manson Director, Jerwood Charitable Foundation August 2014

FOREWORD

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INTRODUCTION

The annual Jerwood Drawing Prize exhibition provides a forum to test, evaluate and disseminate current drawing practice, and to gain knowledge and understanding about the field of drawing and the artists currently making work within the discipline in the UK. It aims to promote and reward excellence in contemporary drawing through the support and recognition of the work of established and emerging artists in this field and is open to submission from those who reside in the UK, with works submitted from throughout the country via collections centres, which in 2014 were located in Bath, Cheltenham, Edinburgh, Leeds, London, Newcastle-upon-Tyne, Norwich and Plymouth.

Drawings are considered for inclusion in the exhibition by a panel of three selectors who represent the perspectives of practitioner, curator and writer all with expertise in the field of drawing. Each year the selection panel changes, and the resultant exhibitions reflect differing priorities and focus for each panel in response to the work submitted for their consideration. The selectors act as independent arbiters of the works presented, and are tasked to identify and choose drawings that represent their combined prerogatives and values in response to the submission. The panel first select the drawings for the exhibition, and then collectively choose the drawings that will receive the awards. The distinguished selection panels are the catalysts to the facilitation of a stimulating and vigorous debate about and through drawing, set within this framework. We are immensely grateful to our expert panel members – Gavin Delahunty, Dr Janet McKenzie and Alison Wilding RA – for their care, rigorous attention and intensive focus in their selection of the exhibition and for their essays for this catalogue.

The 2014 selection panel saw each of the 3,234 works submitted by 1,677 entrants over two days in the studios at Wimbledon College of Art in London. Of these submissions 512 were by 321 applicants qualifying as students. The scale and quality of the 2014 submission and resultant exhibition demonstrates the attention to the role of drawing within the practice of many established, emerging and student artists, designers and makers. As a result of this highly intensive selection process, 52 drawings by 46 artists were selected for the 2014 exhibition, with 8 individual student works included.

This is the twentieth open drawing exhibition organised under my directorship with co-founder Paul Thomas. The context for the original development of this exhibition was the debate around the nature, value, status and representation of drawing as a contemporary art form and within art education in the early 1990s. Originated within the heart of an art school, where research and academic ethos provided an immediate forum for this enquiry about the value of drawing today, the project has aimed to engender and contribute to the dialogue and debate around the subject through the annual exhibition and the associated educational events. Since establishing the project in 1994, we have exhibited 1,795 drawings within the 20 open exhibitions held to date, and have

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had the immense privilege of working with phenomenal artists, selectors and supporters to gain understanding of the wealth and diversity of contemporary drawing practice in the UK today. We look forward to presenting an overview of the project in a wider context; and a special exhibition Drawn Together: Artist as Selector on display at the Jerwood Gallery in Hastings from 19 July to 15 October 2014.

We are immensely grateful for the continuing commitment and support for the Jerwood Drawing Prize project from the Jerwood Charitable Foundation and the wider Jerwood family of organisations. The generous support for the project from the Jerwood Charitable Foundation since 2001 has been phenomenal and we are fortunate to have the sustained and passionate support of Shonagh Manson, the Director; Tim Eyles, the Chairman; and the Trustees.

The Jerwood Drawing Prize project is enabled by an extensive group of individuals, and thanks are due to everyone who contributes to the origination of this project. This includes the Collection Centres and their staff; students of Wimbledon College of Art and Bath School of Art and Design; the team at Parker Harris who manage the administration of the project; Marc Thomas, lead technician; the Jerwood Space and Jerwood Visual Arts teams; tour venue partners; those who work on the transportation, handling, website, design and print; Paul Thomas, co-founder and selection coordinator; and Bath Spa University who support my involvement as director of the project. Of course, the most important thanks go to the selectors, and to all of the artists who submit for the exhibition.

Congratulations to each of the artists included in the exhibition, and especially to the award winners of the Jerwood Drawing Prize 2014.

Professor Anita Taylor Director, Jerwood Drawing Prize Project Dean of Bath School of Art & Design at Bath Spa University Adjunct Professor, University of Sydney affiliated to Sydney College of the Arts August 2014

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SELECTION PANEL

L-R: Gavin Delahunty, Dr Janet McKenzie, Alison Wilding RA

Gavin Delahunty Senior Curator of Contemporary Art, Dallas Museum of Art

Dr Janet McKenzie Author and Co-editor of Studio International

Alison Wilding RA Artist

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It is well known that drawing directs the practice of many contemporary artists and that the Jerwood Drawing Prize is one of the best platforms for artists to showcase their work. Over the centuries, during its evolution, what was expected of the medium has been radically ignored by artists who have pushed its boundaries beyond its traditional definition. This interrogation of drawing’s parameters was at the forefront of my mind as I caught the first glimpses of the artworks submitted for the 2014 prize. As the excellent team at the Wimbledon College of Art brought out wave after wave of works for scrutiny it became clear that Alison, Janet and I needed to consider process and concept as much as skill and technique. Moreover, that the innovative use of digital media had the potential to expand the idea of what drawing might mean.

Collaborative judgment is a complex exercise. With limited time we had to put faith in prior knowledge, our collective expertise and the power of individual artworks. Over two days we discovered masterful draftspersons together with artists who eliminated precise delineation in favor of spatial incoherence. We were surprised by aggressive and disquieting renderings that were full of internal conflicts; we appreciated works that suggested a cerebral voyage and others that were simply about the joy of expression without interruption or modification. Overall, we were attracted to those artists who explored the field in both playful and sophisticated ways.

The shortlist is made up of those artists who knew how to embrace, or indeed reject, the manifold approaches to drawing that exist today. Naturally such a process of selection is always a subjective exercise grown out of the different visual and intellectual sensibilities of the jury. This vital tension between the judges ensured that the final selection went beyond any singular voice or tendency delivering a superb and surprising group of “drawings” for exhibition and commendation.

Gavin Delahunty Senior Curator of Contemporary Art, Dallas Museum of Art August 2014

SELECTION PANEL PERSPECTIVES

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The prospect of finding a winner from over 3,000 drawings was initially daunting and slightly anachronistic, for drawing in the present time is associated with the highly subjective response that one might argue, cannot be judged or categorised, as perceptual drawing traditionally was. Having written about drawing since my late twenties, and conscious of the vastly expanded definition since the 1980s to include multifarious materials, new media, sound, video, it seemed potentially an extremely difficult task. Yet, the process of choosing the works possessed a matter-of-factness that was very refreshing. In terms of materials used and methods employed, variety and innovation characterised the wide-ranging art practice represented. There were vast works that required a team of assistants, ritually to unroll them on to the floor; over 100 works were submitted on DVDs including poignant examples of sound art and video where sound ricocheted around or resonated through a gallery space that became the picture plane, and here hearing is another form of seeing. There were spatial drawings that assumed the exhibition area that sculpture previously had negotiated and dominated, and very many works in traditional materials such as paper, pencil, ink, and watercolour. As judges we complemented each other agreeing on the short listed works and unanimously on the winners. Indeed, it was a natural process characterised by instinct, close examination and reflection.

A shared aesthetic was identified in a significant number of artists employing minute ink lines defining the flux of life through abstracted forms on a relatively large picture plane; a shared mood was also discernible in many of the drawings submitted. We walked around each room “fill” (approximately 150 works each x 20) looking intently as if negotiating a crowd of strangers, looking for a perceptible quality or presence. The works that stood out in the main possessed the capacity to open the viewer up to another way of thinking, to open oneself to feelings, to enable the visualisation of one’s place in the world. When examining the volume of works, I was mindful of the notion of authenticity in an artwork, of there being a discernible trueness to self; an appropriateness between a message and the language chosen; between idea and form. So what was it that we found ourselves drawn to? The term, ‘voice’ is used in this context; and also the notion that the shortlisted works in fact found us. Intuitive connections were made between the three judges and the works chosen in a very natural manner; each of those works chosen possessed a quality that stood out.

The selection process was extremely life enhancing. The degree of thoroughness and in turn certainty required came in direct response to the nature of drawing itself. Drawing has a great capacity to engage the viewer, as if meeting candid individuals for the first time. It was therefore a very great privilege to be invited to undertake such a task. At once private and portable, essentially preliminary or diaristic, drawings continue to provide an immediate form of expression, ideally suited to modern life, travel, allowing a greater independence of conventional studio spaces. The conceptual and the subjective, arguably the most vital components of contemporary art practice – connect in drawing more forcibly and more appropriately than in any other form of art.

Possessing an independent notion of self, and defining the method and the means to express it is one of the criteria for judging a good drawing. An obvious question perhaps is: why were certain works excluded, particularly those with manifest skill, such as a well-executed realistic portrait. To define the presence of the creator’s character, experience cannot easily be described in words, but it is palpable in the quality of the mark, the integrity of its application, the life force that has been infused into inert materials.

Dr Janet McKenzie Author and Co-editor of Studio International July 2014

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The great pleasure of an open submission competition is the abundance of drawing in all its possibilities; and whilst every drawing is presented in its own right with its own voice, there will inevitably be connections and conversations between those selected to be in the exhibition.

To be a judge for the Jerwood Drawing Prize was to be at the very heart of this – making an exhibition from over 3,000 drawings with two other judges – (none of whom had previously met), and assisted by scores of efficient students who set up the works in batches of 200 for the judges to look at: and all this to be completed within two days.

At the outset, our criteria was that this was not a survey show, but a personal selection. From my perspective, the ability to recognise a drawing which stands out and immediately communicates is an instinctive response that I am totally confident with; it come from my own experience of making drawings and is undoubtedly subjective and particular.

I suspect that the students found many of our choices perplexing, as well as the speed with which we were able to select drawings and the relatively small number we finally chose (approximately 50). We conceded that we had been very tough with our selection right from the beginning of the process, but with no regrets or recriminations. As judges we agreed there should be a consensus about which drawings would be included, and enormous enthusiasm from one judge could encourage one to re-appraise a drawing. By the end of the second day, we were in total agreement much to our surprise!

What makes a good drawing? A good drawing demands to be made and is never merely an exercise in technique or style. I think a drawing, in whatever shape or form – and drawing is now accepted as being an expanded field – should retain something of the eye, mind and hand of its maker. We were presented with three dimensional work, some of which was problematic to install and appraise in a confined space and in a short time, and a lot of video works of up to six minutes duration, some with tenuous connections to drawing as an activity. With some entries I had an immediate, almost visceral response, aware that I was in the presence of a totally new thing demanding my attention. As with all good art a drawing must be authentic, and I admit to being almost hoodwinked by some drawings! There is an aesthetic I lean towards which can be overly ‘knowing’ and from which I was rightly pulled back by my fellow judges.

Not surprisingly there was much serious discussion both in the presence of the drawings and around the lunch table, often sparked off by works which were not selected: ‘Is there such a thing as a ‘recession’ drawing?’ was one such question, concerning drawings which I would describe as obsessive, repetitive, all-over mark making in pencil or fine pen, which speak of a drawing expanding to fill the time . There were so many of this type of drawing that whilst one may have stood out, its impact was lessened by its similarity to others. ‘Is the send in mainly from a narrow tranche of artists?’ – ie mostly recent graduates located in the metropolis, and ideally ‘Should there be a much larger catchment area for the Jerwood Drawing Prize?’

And there was much excited discussion about the prize winners.

It was a huge privilege to take part in this intense, learning experience. For the exhibition we have selected some beautiful drawings and I anticipate that the prize winners will stand out. Whilst it is always disappointing to be unsuccessful in any competition (and I know all about this!) – rejection should not be seen as failure. It’s worth remembering that the judging process was totally subjective and you could say we simply chose other things.

Alison Wilding RA Artist 2014

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BONITA ALICE

Beast Dead, 2014 Acrylic on paper, 52.3 x 63.2cm

I try to make sense in pictures of that which eludes us in the space between human and (non-human) animal.

We seldom recognise that the anxiety in the relationship comes from both sides, because we take comfort from the false assumptions we make about our dominion and an equally false idea of their cooperation.

My Beast avoids a familiar form since it’s not fur or skin or smell, but the particular intimacy of mutual need I wish to grasp intelligently.

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IAN ANDREWS

Catch my breath, 2014 Filmed drawing, Continuous (still illustrated)

My work is rooted in drawing, an activity that shows most directly the workings of the mind. Through its fluidity it creates a space for connections to be continually re-made.

To express this continuum, actual movement seemed necessary.

Recent drawings made on crumpled surfaces, flopped and twisted when handled, as I recorded this, associations started to reveal themselves, to breathing, as the piece bulged and contracted, echoing the inhaling and exhaling of air in the lungs. To the forces acting under the surface of the earth, the thin crust moving, sometimes violently, across the molten lubricant beneath.

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JEMMA APPLEBY

#2230113, 2013 Charcoal on paper, 45 x 45cm

The drawing amplifies the environment’s simplicity and purity with an aim of clarification. These clean minimal spaces offer little information yet have an authority to describe a magnitude. The non-narrative architectural spaces make enquiries of the memory, knowledge and experience of human space.

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ALAN BOND

Airborne, 2014 Watercolour and pencil, 63 x 83cm

My drawing depicts a formation landing of Horsa gliders. Bulky, fragile and unarmed, these single use aircraft were used to deliver airborne troops in the Second World War.

The drawing is a memorial and reflects how events fade from living memory to historical record within a lifetime.

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JESSIE BRENNAN

Apostelstraat 20, 2013 Graphite on paper, 120 x 150cm

Jessie Brennan’s practice explores the representation of places through drawing and dialogue, informed by their social histories and changing contexts. Apostelstraat 20 is a site-responsive work developed during visits to Sint-Niklaas, Belgium, based on the dwelling of deceased occupant Jan Buytaert. The drawing was inspired by the title ‘attracted by another level’ for the triennial exhibition Coup de Ville curated by Stef Van Bellingen. The work was exhibited alongside a 19th century Sled (courtesy Huis Janssens) and a carillon sound recording (written by Anton Van Wilderode and composed by Ignace De Sutter). The project was supported using public funding by Arts Council England.

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ALISON CARLIER

Adjectives, lines and marks, 2014 Audio, 1 min 15 seconds (sound waves illustrated)

Observational drawing.

An open-ended audio drawing, a spoken description of an unknown object.

Voice tracks as the eye casts over the form, translating to paper.

Adjectives, lines and marks.

Text: Roman Southwark Settlement and Economy – excavations in Southwark 1973-91, held at The Museum of London Archive.

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SARAH CASEY

Common grounds 3/52, 2014 Oil on paper, 51 x 40.5cm

Common Grounds is a current project with The Bowes Museum, using drawing to catalogue lace bonnets in the Blackborne Lace collection which were previously unstudied. Some of this lace is over 300 years old and remained buried in trunks since coming to the museum. The drawings are made with oil on paper; when held up to the light they appear like ghostly scans, portraits of long-forgotten people. This work contributes to a research project, Walking the Line, conceived in collaboration with Gerry Davies at Lancaster University, where drawing is utilized in challenging environments and in dialogue with other fields of research.

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MARK CAZALET

Anni’s pond night 1, 2013 Mixed media on paper, 40 x 65cm

Drawing directly from nature has become the main focus of my practice. I work in chalk pastel or silver/gold markers on coloured paper. During the spring of 2012 and 2013 I was artist in residence at The Josef and Anni Albers Foundation in Connecticut, working in near isolation in the grounds of the estate. This allowed me to be immersed uninterrupted in the landscape, from dawn to drawing at night from a canoe on Anni’s pond. A total absorption in recording the shifting experience of light phenomena created an altered state of contemplation, an ecstatic sense of connectedness.

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ALEX CHALMERS

Untitled (for Ian Welsh), 2014 Coloured pencil on paper, 68 x 101cm

Untitled (for Ian Welsh) is a drawing from an ongoing body of work that contemplates surface as landscape whilst refusing any reference to scale or position. The dogma of the grid is corrupted by willful glitches that resist the automaton-like potential of the drawing.

Ian Welsh (1944-2014) was an artist and friend, whose encouragement and enthusiasm was and remains a constant inspiration. Welsh made layered paintings of his detailed observations of water.

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ARA CHOI

Mother No.0, 2013 Pen and crayon, 50 x 40cm

In my current practice, I question how an individual trauma can penetrate the levels of awareness within the structure of the unconscious. The condensation, displacement and organisation of psychical intensities occurs while dreaming. This process was described by Freud as ‘the dream work’. The dream work performs an obscure phenomenon with the distortion of images captured when we experience horror and anxiety emotions. I am interested in how and why the individual traumas are related physically and psychically. My work aims to display a symbolized form of the visual language found in dreams and reality.

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DAVID COOPER

Pre Info No.15, 2013 Xerox ink, packing paper, card, pencil, biro, marker pen and rubber tape, 42 x 33cm

This work – Pre Info No.15 – originates from a series of drawings informing the scenes for pre-existing or future sculptures by the artist. It is fundamental to the process, setting an intention in form, identity and technique. It is a statement of the negative spaces where the subjects (the sculptures) are absent, and yet overbear the atmosphere of the scene.

With an indulgent, greedy use of found media – Xerox inked paper, tape, biro, pencil, packing paper and cardboard – the work is bold in its use of value and primitive chiaroscuro, but is absolved of any deliberate agenda to reform the classical.

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DAVID REES DAVIES

Untitled 2, 2014 Watercolour on handmade paper, 53 x 73cm

Last summer, after returning from a walk, I made watercolour studies of horse chestnuts and their cases. Five vanished hours later I stopped, picked up the spikey objects, closed my eyes and rotated them slowly and carefully in my hand. For the last ten years my dear friend Pavel has rung me on his mobile from his Ukrainian dacha (some ten miles from the Russian border) to invite me to listen to his local nightingales singing their hearts out, claiming their territory. This spring while watching the ominous and unfolding events near his home live on my laptop I was struggling to create images for a friend’s surreal, bizarre poetry. I had commissioned someone I’d known and worked with for decades to design the cover but his sudden unexpected death that day left me shocked and saddened. I thought about abandoning the project – when the celebrated zoologist Desmond Morris stepped in and submitted a collaged artwork. We now had a cover but as yet no images. I abandoned all my previous attempts, picked up my favourite, ridiculously broken Chinese brush, poured myself a glass of wine and freely started drawing and drawing and drawing… ZOO TIME…indeed.

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MICHAEL DITCHBURN

Abstract carpet, 2014 Printing ink, 45 x 62cm

Abstract carpet is a monoprint from a series of drawings inspired by Eastern textiles.

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SHAUN DOLAN

Medicine bottle II, 2014 Charcoal on paper, 62.5 x 45cm

Medicine bottle II is taken from a series of experimental work exploring the boundaries of drawing. In this instance the focus was on a single continuous line representing a form, which was achieved by looking only at the object and at not the paper.

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SUSANNAH DOUGLAS

Ensemble, 2014 Pencil on paper, 22 x 27.5cm

Ensemble is a familiar situation, a group formation of costumed figures assembled and ordered by the conventions of the school portrait. The process of transcribing the image using three colours of ink and pencil references the image’s construction, separating and layering the colour print out. The drawing is a partial facsimile of the generic. Maybe I want this to be my history.

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SUSANNAH DOUGLAS

Ensemble diptych (part 1), 2014, Pencil on paper, 22 x 27.5cm Ensemble diptych (part 2), 2014, Pencil on paper, 22 x 27.5cm

Ensemble diptych is a familiar situation, a group formation of costumed figures assembled and ordered by the conventions of the school portrait. The image is constructed from layered and reflected photocopies of the same image. The process of transcribing the image forms a unified surface. The drawing is a partial facsimile of the generic, repeated. Maybe this could be my history.

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HANNAH DOWNING

Vertical panorama: Oak tree, 2013 Graphite on paper, 230 x 93cm

Central to Hannah Downing’s practice is a fascination with the way in which reality is presented to us in pictures. The drawing Vertical panorama: Oak tree is an attempt to explore an extended or unusual view whilst holding on to the formalistic markers of realistic representation. There is no set subject matter beyond the act of looking itself, and the process of attempting to express or give shape to that personal subjective experience.

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SARA DUDMAN

Megalith I, 2014 Graphite, charcoal and gouache on paper, 90 x 85cm

Megalith I is the product of a deep immersion in the far westerly Cornish coastal environment.

Permanence and impermanence are in balance. Megalith I is an enduring testament to human presence, belief and occupation. Present for centuries, yet now alien, removed from its context of belief and purpose it becomes timelessly fused to its environment.

Using the intuitive, personal, interpretive possibilities of drawing yet derived from the immediacy and documentation of video, this drawing combines analysis and emotion.

The drawing conveys a layering and compression of time, space and place.

Boundaries exist between figuration and abstraction, expression, memory and reality.

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GARY EDWARDS

There are no owls #1, 2014 Graphite on paper, 86 x 115cm

At a basic level my drawings are concerned with mark making. To some extent the composition is arbitrary. What concerns me is the patina, building up layers of graphite, working and reworking, adding and taking away, creating histories of mark making.

“‘Look at the owl,’ Rachael Rosen said. ‘Here, I’ll wake it up for you.’ She started toward a small, distant cage, in the center of which jutted up a branching dead tree. ‘There are no owls,’ he started to say. Or so we’ve been told.”

Do Androids Dream of Electric Sheep? Philip K. Dick

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HILARY ELLIS

Enigma II, 2014 Thread on paper, 93 x 98cm

This work reflects a pre-occupation with repetitive mark making and the subtle differences that emerge as part of that process.

The use of thread as a medium contributes to the individuality of the marks bringing another dimension to the repetitive process.

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UTA FEINSTEIN

Quest, 2014 Charcoal, pastel and chalk, 42 x 59cm

The drawing Quest evolved through an exploratory, searching process, which involved tapping into the subconscious using touch and surrealist-inspired blind and automatic drawing to access my creative impulses. It speaks of the intangible, of psychological and emotional responses to the uncertainties of life. The image raises doubts and questions rather than providing answers, hovering between dissolution and becoming, between presence and absence. Its meaning remains cryptic, elusive and unresolved.

Order and balance have been displaced and overcome by subversive forces, e.g. violence, despair and anxiety, leading to instability and chaos. Almost paradoxically, new possibilities emerge, leaving the image open-ended.

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ANNETTE FERNANDO

Wait a minute, it’s the truth and the truth hurts XIV, 2013 Ink on paper, 23 x 32cm

Through literature and film we make sense of our own lives. It is this notion that I explore within my artistic practice. The core of my work is biographical but I draw from appropriated mediated images, sourced primarily from archives, television and film. I select images, pinpointed moments, that resonated deeply with me but weren’t actually part of the reality of my own life. Relating to these stories exposes the way in which our desires, intimate relationships and the way we behave is all conditioned by culture. By selecting these images I re-expose them, calling them into question.

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FREYA GABIE

Study of caravan wallpaper, 2013 Ink on paper, 77 x 57cm

This drawing is a study of the wallpaper found pasted in an old caravan I lived in for a summer. I had wanted to track the symmetrical, repetitive arrangement of the pattern, yet knowing the error of my eye and the inadequacy of my hand would lead the flowers to deviate from their regimented alignment to cause fluctuation, animation and disorder: an approximation of life.

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HUGH GILLAN

Heap, 2013 Charcoal pencil on gesso, 43 x 47cm

This drawing depicts the remains of a demolished building partially covered in fog. While drawing I repeatedly broke down the surface with sandpaper and eraser and built it up again with charcoal. This continual process slowly eroded the fragile gesso ground, echoing the ruined environment I was looking at. The sanded away areas became the parts of the scene obscured by the mist.

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TRICIA GILLMAN

Moment, 2014 Charcoal and oil pastel on cardboard, 40 x 43cm

Moment, made on a piece of torn cardboard box, is a material layering of fragments of thoughts, partial words, “now” marks, which evolve into a physical presence over time.

It is an off-shoot from a series of large pencil drawings which seek to trap through each moment by moment mark or thought or word or process, some residue or deposit: a time map that represents the experience of just being here.

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ELAINE GRIFFIN

Mementos, 2014 Graphite, Variable 7 A3 sheets

A series of drawings, memories, mementoes, dreams; clothes seldom or sometimes worn; keepsakes from cluttered shelves around the house, catching dust and temporarily forgotten. Some are gifts, heirlooms from the past or for the future – some just bought on a whim, a bargain from a charity shop. All these items, the flotsam and jetsam of the family house, have a past and story – some are authentic, some imagined.

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MICHAEL GRIFFITHS

Spectrum, 2014 Charcoal and oil pastel, 39 x 44cm

The content of my drawings is generated as abstract imagery but the forms and language of mark-making that develop are intended to be analogies for human dispositions and interaction. In short, people-watching can be illuminating and fun, or even shocking or nasty, depending on what they are doing; but whatever they are doing tends to reveal something of the human condition and it is that that interests me and informs my work.

I use drawing to pose questions, to explore possibilities and to make thinking visible.

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BEN HART

A cleaner living space, 2014 Watercolour and pencil on paper, 50 x 67cm

Wallpapering the thoroughfares of Beijing, billboards advertising residential developments feature airbrushed renderings of luxury apartments and nature. ‘Let us build a cleaner living space’ is printed over a harmonious view of the area. Ubiquitous types of landscape imagery gloss over & promote the future of transitional sites, with an element of fantasy & idealism that often falls short due to reproduction glitches. I’m interested in staged experience & the limitations of imaging place.

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ALAN HATHAWAY

Untitled 1, 2014 Watercolour on paper, 28.4 x 38.5cm

I tend to draw very quickly, so I end up with lots of drawings, most of which I discard.

I am happy for the drawings to ‘stand alone’ but the relationships that develop between them have become an increasingly important aspect of their making.

They are just as much independent as they are connected to other things that I make.

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ALAN HATHAWAY

Untitled 2, 2014 Watercolour on paper, 28.4 x 35.8cm

I like the fact that there is an underlying complexity to these particular drawings, but that they appear simple and direct. Working in a very reductive way gives me a freedom to explore drawing, quite literally, as a way of thinking.

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CHARLOTTE HODES

Grammar of Ornament: Proposition 19 Field of Squares II, 2014 Papercut, 80 x 103cm

This drawing is one of a series thirty-seven papercuts which are informed by the 1856 publication, The Grammar of Ornament by architect and designer Owen Jones. The papercuts correspond to, and are numbered according to each of the original thirty-seven propositions which form the ‘general principles in the arrangement of form and colour in architecture and the decorative arts’. Each proposition provided a starting point, with Proposition 19 focusing on Field’s Chromatic Equivalents. Importantly the female figure appears as a protagonist serving to undermine and disrupt the rigidity of the hierarchical system as presented by Jones.

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STEPHEN HUNTER

Geometry set (12), 2014 Ink, pencil, poster paint and pastel, 52 x 45cm

This drawing is one of a set, which started with me thinking about what drawing is and how I make a decision about making a mark on a surface.

It’s critical that art is useless. In a society based on profit and instrumentalism, there is something politically important about a human activity that records simple interactions between ourselves and the world.

As a child, I was always excited about receiving a new geometry set before the start of school. Instruments meant to measure the world became the start of drawings made for the pleasure of pressing pen on paper.

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JONATHAN HUXLEY

Breakdown, 2014 Charcoal on paper, 29 x 38cm

Breakdown appeared after covering the marks of a previously botched drawing.

In hiding my mistakes I dragged a grey screen over the affair and continued to fumble about with broken bits of charcoal and a rubber, waiting for something to happen.

First arrived a sort of oval white mark in the centre. It suggested an isolated vehicle. The hood popped open, or maybe the trunk. I say “trunk” because the vehicle had an American look but it was faint in the greyness. A slab of black for contrast became a figure. Somewhat lanky and bent. In attendance of what? A pick up? A drop off?

For counter balance another black mark revealed a second figure. Turned away. A break in communications?

A breakdown?

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ALZBETA JARESOVA

Position XVI, 2014 Graphite on paper, 58 x 43cm

Position XVI is part of a series of works in which I explore the connection between history and memory. The architectural elements of my work function as a mnemonic device, a catalyst for remembrance, which investigates the metaphysical process of how fragmented memory can envelop and disorientate one’s reality. The structural forms point to architecture as a significant record of history and social development and speaks directly of our public awareness and aptitude towards political and social devices; interpretively drawing a transient place between private and public spaces.

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AILEEN KEITH

Jetsam, 2013 Pencil, oil paint, collage and embossing, 67 x 87cm

Recording every detail of your life on digital gadgets could replace the need for biological memory. As an artist whose work considers the nature of recall, this possibility of saving every detail leaves me feeling ambivalent. Is it a positive or negative development? Is it desirable or just inevitable? Does more information bring clarity or, is our individual identity just as closely bound up with the selectivity of our naturally forgetful memory?

Jetsam is one of a series exploring what remains in the mind and what is “thrown overboard”. Random, repetitive images form a tide-line in the fluid process of remembering or forgetting.

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SHIVANGI LADHA

Shroud of sparrow, 2014 Pen on cloth, 250 x 81cm (detail illustrated)

I have been observing sparrows since my childhood and have a personal attachment with these little birds. Their recent population reduction made me ponder about the conditions which are leading to this decline.

The process involved encounters with dead sparrows in the British landscape, working with them intimately while sharing the same physical space.

The downfall in sparrow population provoked a feeling of loss and absence within. I used drawing as a medium to overcome this and also commemorate their valuable presence in this planet.

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LAURIE LAX

Oblong (Parnidžio Kopa) – day two, 2014 Charcoal powder on sand (photo-documentation), 38 x 58cm

Homemade charcoal was produced from locally found driftwood, then powdered and sifted onto the giant Parnidžio sand dune during a residency at Nida Art Colony, Lithuania. The initially velvety-black charcoal sat on top of the undulating surface, forming a crisp black rectangle. Over the following few days the Baltic sea winds gradually removed the charcoal, revealing the patterned sand waves beneath. All that remains of the original drawing is photo-documentation.

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ZOE MASLEN

The Absents Presence, Hair Drawing, 2014 Pencil drawing on Fabriano paper, 250 x 150cm

The Absents Presence, Hair Drawing is an articulation of the ephemeral presence. The indent you left on my bed, a hair on my pillow. My continuing practice investigates the reverberation of the unseen through documenting its evidence. Hair is a visceral reminder of a presence, provoking questions of the who or what it belonged to. Through giving these traces a human form we can finally acknowledge the presence, face to face.

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KATE MORRELL

A.V.M. 1954 screenshot 2013-12-10 (1), 2014 Giclee print and drawing ink, 42 x 57cm

A.V.M, 1954, Screenshot 2013-12-10 (1) is part of a series of drawings made for the solo exhibition Pots before words (2014), which engages with the life and work of British writer and archaeologist Jacquetta Hawkes. This body of work explores the tensions between the subjective and objective in the interpretation and display of archaeological evidence. Selected from a 1950s television panel show, a series of prehistoric objects are offered for silent analysis. The images highlight the performative gestures for display and interpretation created by the handler. The scientific lens of the clinical close-up is indicated by detailed drawing.

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SIGRID MÜLLER

Seed Pods, 2014 Coloured pencil on watercolour on board, 89 x 117cm

When I draw, I try to translate what I see into how it feels to the touch. It is purely emotional, something that resonates, stirs memories, often from childhood when judgment did not come before objects were thoroughly observed and experienced. The background is as important as the subjects themselves. It provides an imagined space where they can live – suspended with nothing to hold on to, or existing on seemingly firm ground. I choose intuitively, not searching, but coming upon, being stopped in my tracks by the promise in a closely furled bud or the dry rattle of a seed pod.

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HITESH NATALWALA

Untitled 1, 2013 Charcoal and acrylic on collage, 44 x 37cm

With a great interest in ethnography and ‘other’ cultures, being from an ‘other’ culture myself, I set out in this set of works to create objects of fictitious mythical symbolism and veneration. Such objects have always fascinated me on visits to the now defunct Museum of Mankind and more recently the British Museum, as well as many other ethnographic museums around the world.

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HITESH NATALWALA

Untitled 2, 2013 Charcoal and acrylic on collage, 44 x 37cm

I have tried to render these imaginary objects to reflect the ways and means of Ethnographic cultures such that if they were real objects they would be constructed in natural materials such as wood, shells, twine and animal skin for instance rather than marble or bronze. Ultimately, like much of my work, having lost touch with my own original ethnographic origins, being of Indian background, born in Africa and having lived in England since the age of 4 (with a recent 10 year stint in Australia), I am attempting to fill the void that this loss has left in me.

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PETER OLE RASMUSSEN

4 bears, 3 standing, one bending down, 2013 Oil on paper, 79 x 66cm

4 bears, 3 standing, one bending down is part of an on-going series of drawings and paintings with the umbrella title Running bears that explores relationships: human, animal, abstract, figurative. The drawings set up visual dialogues through chance juxtaposition and recurring motifs. The series began at the end of 2008 with the memory of an original black and white drawing by Hanna and Barbera for the American television cartoon Yogi Bear. 4 bears takes its inspiration from images of street youth around the world.

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KATIE SOLLOHUB

Quantum life, 2014 Charcoal on paper, 49 x 59cm

I like to draw the stuff around me, the everyday, the things in my studio. Whilst drawing, I observe the character of the objects, and notice the spaces between them.

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KATIE SOLLOHUB

On the edge, 2014 Charcoal on paper, 49 x 57cm

Once drawn, certain objects in the drawing seem to vibrate, as if something has just happened, or is about to happen: a table and chair quiver as they meet, like dogs, tails alert; something balances, just about to fall. These are not quite still Still Lives.

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LEXI STRAUSS

Plan B, 2013 Acrylic on paper, 50 x 60cm

Inspired by a 1970’s documentary, this image relates to an ongoing narrative, The Vulnerable Party. This is one of the many specious, fluid, personal fictions derived from interviews or imagination, through which I explore the complexity of our interactions with belief systems and processes of individuation.

The Vulnerable Party concerns the search for a supremely divine clown leader – humane, genuine and open, with strengths and weaknesses exposed. It’s also a personal journey, a process of individuation, which will ultimately atomise the political party, or movement, thus reducing it to a one-person campaign, without cabinet or voters.

Works created around such narratives may also eventually be ventriloquised. Light projection and sound can allow subjects or objects within my paintings to breathe, interact, sing and narrate tales individually or collectively, conveying concepts beyond language or imagery.

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SALLY TAYLOR

Confused Head 27, 2014 Posca pen and paper collage on found book cover, 40 x 34cm

My drawings affirm a desire to understand more about human relationships, specifically my own interaction with others. They are equally about forming a balance between formal concerns in relation to the communication of emotional resonance. Recent work has developed into an investigation of the dynamics of social groups – particularly how hierarchies emerge, how roles are assumed and behaviours are managed. The work aims to investigate these processes that appear to be rooted simultaneously in latent predispositions; revealing ‘unknown’ and unpredictable subjective experiences. Recurring motifs of triangles and ‘smiling mouths’ aim to explore Louise Bourgeois’ statement ‘triangles mean danger’ alongside social constructs surrounding the unsaid and non-verbal interaction.

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KATY WALLWORK

Crusade (rambergering) Plaster and pigment, 15, 25cm

Crusade (rambergering) is part of an ongoing series of sculptural drawings which re-appropriate homoerotic and rebellious elements from historical prints and paintings. Based on the etching Swain with Two Nymphs and a Landscape by Johann Heinrich Ramberg.

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DIANE WELFORD

Eavesdropper, 2014 Sunlight drawing, 38.5 x 31cm

Eavesdropper takes place in secret, listening into the private and unknown without gaining permission, taking with it newly acquired information that may never have come to light. Eavesdropper draws parallels with our ability to perceive things through a different state of awareness.

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DANIEL WHEELER

J’arrive, 2014 Carbon on paper, 91 x 72cm

“…The present has become the more important, if not the more meaningful, because the future has lost its characteristic as a dimension different from the present…

Youth has been robbed, therefore, of the full experience of the dramatic transition from adolescence to adulthood and of the dramatisation of the difference between present and future.”

Archetypal Patterns of Youth (1956) S. N. Eisenstadt

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BONITA ALICE (b.1962 Johannesburg, South Africa) studied BA Fine Art at the University of the Witwatersrand, Johannesburg (1984), and MFA at the Michaelis School of Art, University of Cape Town (1990). Selected group exhibitions include: Sao Paulo Bienal (2002) and A.R.E.A. – Art Region End of Africa, Reykjavik Art Museum, Iceland (2000). Solo exhibitions include: Beast in a Dangerous Landscape, Gallery AOP, Johannesburg (2012), Beast at Home, Gallery AOP, Johannesburg (2010), Anticipated Memory, Gallery AOP, Johannesburg (2007). She lives and works in London.

IAN ANDREWS (b. 1959 Tilbury, UK) studied MA painting at Royal College of Art (1985). Solo exhibitions include: Rummage out, find by violence searching, Terrace Gallery, Great Western Arcade, Birmingham (2012). Collaborations include: Babelling: The Art of Rat Catching, ARTicle Gallery, Birmingham City University (2013); Babelling, Sluice Art Fair, Bermondsey, London (2013); Coughing Fit, with Paul Newman, Gas Street, Birmingham (2012). Group exhibitions include: Invasion, AE Harris, Stan’s Café, Birmingham (2012). He lives and works in the West Midlands.

JEMMA APPLEBY (b. 1987 London, UK) studied BA Fine Art at City and Guilds of London Art School (2006-09). Selected group exhibitions include: Perfectionism: A Method of Practice, Griffin Gallery, London (2014); Under The Greenwood, St Barbe Museum in association with Southampton City Art Gallery, Hampshire (2013); The Threadneedle Prize, Mall Galleries, London (2010). Solo exhibitions include: Holon 1:14.013, Meantime, Cheltenham (2012). Recent prizes include: Chateau de Blavou Residency in association with Forum des

Arts, Normandy (2013); Royal Society of British Artists Residency at The British School at Rome (2010) and The Haworth Trust Award for Painting (2009). She lives and works in London.

ALAN BOND (b. 1946 Swindon, UK) studied Fine Art at Bath Academy of Art, Corsham (1965-68) and at Chelsea School of Art (1968-69). Awarded a fellowship at Gloucestershire College of Art (1969-70). Selected group exhibitions include: Hidden Door Festival, Edinburgh (2014); Supermarket, Kulturhuset, Stockholm (2010); Becks Fusions, Contemporary Art Society, Manchester (2008); The Stars Down to Earth, Nunnery Gallery, London (2006). Solo exhibitions include: Tin Sheds and White Horses, Rabley Drawing Centre, Marlborough (2010); Vernacular, Seven Seven Contemporary Art, London, (2008). Recent prizes include: The Deloitte Prize, Scottish Society of Artists Open, RSA, Edinburgh (2012). He lives and works in Edinburgh.

JESSIE BRENNAN (b. 1982 Plymouth, UK) studied MA Printmaking at the Royal College of Art, London (2005-07). In 2009 Brennan received a Postgraduate Certificate in Learning & Teaching in Art & Design CLTAD, University of the Arts, London. Selected exhibitions include: Progress, The Foundling Museum, London (2014); Interchange Junctions, HS Projects, London (2014); Oriel Davies Open, Oriel Davies Gallery, Wales (2014); Adrift on Life’s Tides, Rochester Art Gallery, Kent (2013); Coup de Ville, Sint-Niklaas, Belgium (2013); Cities & Eyes, Marian Cramer Projects, Netherlands (2012). Recent awards include: Contemporary Talents 2012 Winner (Drawing Category), François Schneider Foundation, France (2012); Artists’ International Development Fund, Arts Council England, UK (2013);

ARTISTS’ BIOGRAPHIES

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Second Prize, Jerwood Drawing Prize (2011). Recent projects commissioned by: The Foundling Museum, London (2014); Art on the Underground, London (2012, 2009); SPACE, London (2011). She works around the UK and lives in London.

ALISON CARLIER (b.1971 Epsom, UK) studied BA Fine Art at The University for the Creative Arts, formerly The Surrey Institute of Art and Design (1999-02); MA Drawing at Wimbledon College of Art (2011-13); and BSc in Occupational Therapy from Coventry University (1990-93). Selected group exhibitions include: Drawn on Site Pop Up Residency, Dorking (2013); Drawing Show, The National Gallery, London (2013); Stuff on Walls, Centre for Drawing, Wimbledon College of Arts (2011). Projects include: The Drawing Attitude (2013) and Lens on Life, with Ackroyd and Harvey (2014). She lives and works in Dorking.

SARAH CASEY (b. 1979 Cheshire, UK) studied Art Foundation at Liverpool Art School (1997-08); BA History of Art, History & Philosophy of Science at the University of Leeds (1998–01); MA Fine Art at Lancaster University (2007–08) and was awarded a PhD in Fine Art at Lancaster University (2012). Selected group exhibitions include: Darkness at the Edge, Propeller Visual Arts Centre, Toronto, Canada (2013); Sketch Drawing Prize, Rabley Drawing Centre, Marlborough (2013; 2011); Paperworks 3: British Artists working with paper, Bury Art Gallery and Museum, Bury, UK (2010). Solo exhibitions include: Common Grounds: Lace Drawn from the Everyday, The Bowes Museum, County Durham, UK (forthcoming 2015); Hidden Drawers, Kensington Palace, London (2013); Drawing the Delicate, Peter Scott Gallery, Lancaster (2012). Recent prizes include: AHRC Science in Context Award with Dr Rebecca Ellis and Dr Kostas Dimopoulos (2014); Public Award, 5th International Drawing Biennale, Australia (2010). She lives and works in Lancaster.

MARK CAZALET (b. 1964 London, UK) studied BA Fine Art at Falmouth School of Art (1983-86); French Government Scholarship to L’Ecole des-Beaux-Arts Nationale Superieure Paris (1986-87); Association of Commonwealth Universities Postgraduate Scholarship to MS University of Baroda, Gujerat, West India (1988-89). Selected group exhibitions include: Derwent Art Prize, London (2014); Insights into British Art Today, Kunstsammlungen des Bistums, Regensberg, Germany (2011). Solo exhibitions include: Metaphysical Landscapes; Snape Maltings Gallery, Aldeburgh (2012); A Plot of Ground, Beardsmore Gallery, London (2010); Everyday Epiphanies, Beardsmore Gallery, London (2008). Recent awards include: Artist in residence at The Josef and Anni Albers Foundation, Connecticut (2012-13); Artist in residence at The Rekha Rodwittya and Surendran Nair Studio Baroda (2010). He lives and works in London and Suffolk.

ALEX CHALMERS (b. 1973 Chester, UK) studied BA Fine Art at University of Newcastle (1993-97); Architecture at Architectural Association (2000-06); MFA at ALT-MFA (2012-present). Selected group exhibitions include: In Search of the Miraculous, Floating Island Gallery, London (2014); Paper Bag (Bermondsey Artists’ Group), Cafe Gallery, London (2013); Circuit, Dreamland, Margate (2011). He lives and works in London.

ARA CHOI (Eunju Choi) (b. 1985 Busan, South Korea) studied BA Printmaking at University of Hongik, South Korea (2007-11); MFA Fine Art at Wimbledon College of Art (2012-14). Selected group exhibitions include: Chain Re:Action, Menier Gallery, London (2013); Threads, Rag Factory, London (2013); Disrupted, Crypt Gallery, London (2014). She lives and works in London.

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DAVID COOPER (b. 1972 West Yorkshire, UK) studied BA Fashion at John Moores University (1991-94); MA Fashion at Central Saint Martins (1994-96). Selected group exhibitions include: Hot One Hundred, Gallery Schwartz, London (2013); Punk Salon, Gallery Schwartz, London (2013); East Sussex Open, Towner, Eastbourne (2013). Solo exhibitions include: Heads Have Holes Have Heads, Gallery 40, Brighton (2012); Think Tank No.5, 38 Cheltenham Place, Brighton (2012). He lives and works in London

DAVID REES DAVIES (b. 1953 Bridgend, South Wales) studied BA at Manchester Polytechnic (1972-76); Royal College of Art, London (1976-79). Selected group exhibitions include: Welsh National, Eisteddfod (2009; 2011-12; 2014); East Sussex Open Exhibition, Towner Gallery, Eastbourne (2014); Jerwood Drawing Prize (2007; 2009); Kyffin Williams Drawing Prize, Anglesey (2009; 2012); Nature Morte, Kharkiv City Art Gallery, Ukraine (2009). Solo exhibitions include: The Swear Bucket, The Falling Pilot & The Avenging Hare, East West Gallery, London (2011). Works held in the collection of The Scottish Arts Council, British Council and Norfolk City Museum and Art Gallery. He lives and works in Hove, East Sussex.

MICHAEL DITCHBURN (b. 1991 London, UK) studied BA Drawing at Camberwell College of Art (2010-13). Selected group exhibitions include: The day Job, Hoxton Basement, London (2014); Draft, Bussey Building, London (2012); BA:SE, Shoreditch Townhall, London (2012). Residencies: Harris Morden Academy (2013-14). Shortlisted for: Sainsbury Scholarship, British School at Rome (2014) and Drawing Residency, V&A (2014). He lives and works in London.

SHAUN DOLAN (b. 1969 Suffolk, UK) studied BA Hons Public Art & Design at Chelsea College of Art & Design (1993-95) and is currently studying MA Drawing at Wimbledon College of Art &

Design (2013-15). Artist in Residence for Chelsea Community Hospital School (2004-present). Public art commissions include: Suffolk National Heritage, Chelsea and Westminster Hospital, Royal Brompton and Harefield Hospitals, London Red Cross Charity, Birmingham Heartlands Hospital, RB&Harts. International collaboration projects with The British Council in schools in Gaza, Finland, Italy, Iceland and Poland. He lives and works in London.

SUSANNAH DOUGLAS (b. 1981 Belfast, UK) studied MA Fine Art at Wimbledon College of Art (2009-10); BA Fine Art at Falmouth College of Art (2000-03). Selected group exhibitions include: Party Favours, Paper Gallery, Manchester (2014); The Griffin Art Prize, London (2013-14); Jerwood Drawing Prize (2013). Solo exhibitions include: Palindrome Diptych, Motorcade Flashparade, Bristol (2010). She lives and works in London.

HANNAH DOWNING (b.1985 Swansea, UK) studied BA Fine Art: Painting and Drawing at Swansea Metropolitan University (2005-08). Selected group exhibitions include: Kyffin Williams Drawing Prize, Oriel Ynys Môn, Anglesey (2012); No No, I Hardly Ever Miss a Show, Zacheta National Gallery of Art, Warsaw (2011); A Thing About Machines, The Herbert, Coventry (2009). Solo exhibition: Panorama, The Last Gallery, Llangadog (2013). Recent prizes include: Oriel Davies Open, People’s Choice Prize (2014); BEEP Painting Prize, First Prize (2012). She lives and works in Swansea.

SARA DUDMAN (b. 1964, Cambridgeshire, UK) studied BA Fine Art at Loughborough College of Art and Design (1984–87); MA Design and Manufacture at De Montfort University (1996-97). Selected group exhibitions include: Sunday Times Watercolour Competition, Mall Galleries, London (2013; 2014); ArtWorks Open, Barbican Arts Group Trust, London (2014); ArtGemini Prize 2013, Rebecca Hossack Gallery, London, (2014).

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Solo exhibitions include: Welcome Sight, Regal Theatre, Minehead, Somerset (2012); Walking Meditation, The Bomb Shelter, Beer, Devon, (2010). Recent prizes include: REAL SOMERSET, First Prize, A2 Gallery, Wells, Somerset (2014); Thelma Hulbert Open 2014, First Prize, Thelma Hulbert Gallery, Honiton, Devon (2014); John Singer Sargent Open, Broadway Arts Festival, Little Buckland Gallery, Broadway, Gloucestershire (2014). She lives and works in Somerset.

GARY EDWARDS (b. 1960 Sussex, UK) studied Graphic Design at Eastbourne College of Art and Design (1977-80). Group exhibition: Royal Academy Summer Exhibition, London (2013). He lives and works in Brighton.

HILARY ELLIS (b.1948 London, UK) studied BA Fine Art at Liverpool John Moores University (1993-96); MA in Printmaking Camberwell College of Art (2005-07). Selected group exhibitions include: London Group Exhibition, Menier Gallery, London (2007); ING Discerning Eye Exhibition, Mall Galleries, London (2009); Fabricate, Leyden Gallery, Shoreditch, London (2013). Solo exhibitions include: The Order of Things, Liverpool Biennial, University of Liverpool Art Gallery (1999); Paperworks, Southport Arts Centre, Southport (1999); A Whiter Shade of Pale, Frameless Gallery, London (2010). Recent prizes include: The Artichoke Print Workshop Prize (2007), Edward Ardizzone Award (2007) and Intaglio Printmakers Award (2009). She lives and works in Canterbury, Kent.

UTA FEINSTEIN (b. 1968 Cologne, Germany) currently studying BA Fine Art at the University of Nottingham (2010-present). Forthcoming exhibitions include: Carnival of Monsters 2014, Festival of Contemporary Art, Nottingham (2014). One of her drawings was recently shortlisted for the Cedric Ford Art Prize (2014). She lives and works in Nottingham.

ANNETTE FERNANDO (b. 1991 London, UK) studied BA Fine Art at Central Saint Martins, University of the Arts London (2011-14). Selected group exhibitions include: Print/3, Arcane Gallery, London (2014); Jerwood Drawing Prize (2013); Central Saint Martins Group Show, Camden Arts Centre, London (2013). Solo exhibitions include: Recent Etchings by Annette Fernando, The Looking Glass, London (2013). She lives and works in London.

FREYA GABIE (b. 1984 Taunton, UK) studied BA Sculpture at Chelsea College of Art and Design (2004-07); and MA Sculpture Royal College of Art (2014). Selected group exhibitions include: WorkWeek, Casket Gallery, Minneapolis, USA (2013); Extra-Ordinary, Departure Foundation, London (2013); Gilchrist Fisher Landscape Award, Rebecca Hossack Gallery, London (2012). Selected solo exhibitions include: Undone/Retold, Styx Gallery, Berlin (2011); Vestige, Installation in an empty tower block flat, West Glasgow, Scotland (2010); Desire-Lines, Meantime Project Space, Cheltenham (2009). She lives and works in London.

HUGH GILLAN (b. 1972 Alexandria) studied BA Fine Art at Glasgow School of Art (1991-95). Selected group exhibitions include: Salon 12, Matt Roberts Arts, London (2012); Blank 09, Inside Out, Beijing (2009); Creekside Open, A.P.T Gallery, London (2009); Exquisite Decay/ Desintegration Exquise, Chateau D’Alba La Romaine, Montelimar (2009); Jerwood Drawing Prize (2003). Solo exhibitions include: Familiar Territory, Compass Gallery, Glasgow (2003). He lives and works in Glasgow.

TRICIA GILLMAN (b.1951 Johannesburg, South Africa) studied BA Fine Art at Leeds University and MFA at Newcastle University. Selected group exhibitions include: John Moores, Liverpool (1983; 1985; 1989; 1992); Serpentine Summer Show, London (1983); RA Summer Exhibition, London (1983-2014). Solo shows include: Arnolfini, Bristol; Storey Gallery, Lancaster; Lemon Street Gallery, Truro. She lives and works in London.

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ELAINE GRIFFIN (b. 1951 London, UK) studied BA Visual Communication, Bath Academy of Art (1975-77); MA Fine Art, University of Wales Institute, Cardiff (1993-95). Selected group exhibitions include: Bath Society of Artists, Bath (2002); RWA, Bristol (2005); Off-Centre Gallery, Bristol (2008). Solo exhibitions include: The Cathedral Church of the Holy and Undivided Trinity, Bristol (1995); Bristol South Swimming Pool (1995); Southbank Arts Trail, Bristol (2014). She lives and works in Bristol.

MICHAEL GRIFFITHS (b. 1951 London, UK) studied BA Hons Fine Art at Brighton Polytechnic (1973-76); Postgraduate Diploma in Printmaking at Brighton Polytechnic (1976-77); Elected Member of Newlyn Society of Artists (NSA) (1999); Elected Member of Royal Society of Painter-Printmakers (RE) (2001). Selected group exhibitions include: The Sex Lives of the Poor and Unknown, Tallinn, Estonia (2012); Three Galleries, Newlyn Society of Artists, Cornwall (2009); Welsh Contemporaries, Catey Hillier Fine Art, West Square, London (2007). Solo exhibitions include: Habitus: Recent Drawings, Atrium Gallery, Bournemouth University (2009); The Link Gallery, University of Winchester (2002); White Gallery, Brighton (2001); Pallant House Gallery, Chichester (2000). He lives and works in Dorset.

BEN HART (b. 1990, Isle of Wight, UK) studied BA Fine Art at Central Saint Martins (2009-13). Selected group exhibitions include: Sunday Times Watercolour Competition, Mall Galleries, London (2013); Feedback, Concourse Gallery, London (2013); forthcoming show with Esme Toler (2014). Solo exhibitions include: Other People’s Place, Platform China, Beijing (2012); Defurbish, Heiqiaocun Space, Beijing (2012). Prizes include: Artquest Widening Participation Award with Studio Voltaire (2014); Award for Painting, Central Saint Martins (2013). He lives and works in London.

ALAN HATHAWAY (b. 1968 London, UK) studied BA Fine Art, Painting at Leeds Polytechnic (1987-90); MA Drawing at Wimbledon School of Art (2004-05). Selected group exhibitions: Our idea of Fun, 36 Lime Street Gallery, Newcastle upon Tyne (2014); What Condition Our Condition Is In, Gallery North, Newcastle upon Tyne (2012); Ours, The Centre for Drawing, London, (2005); Instrumental, Space 44, London (2004). He lives and works in Newcastle upon Tyne

CHARLOTTE HODES (b.1959 London, UK) studied at Brighton College of Art (1977-78); BA Fine Art (1978–82) and Higher Diploma in Painting at the Slade School of Fine Art (1982-84). Selected group exhibitions include: Glasstress: White Light/White Heat, Berengo Centre for Contemporary Art and Glass, Murano, Venice Biennale (2013); Derwent Art Prize, Mall Galleries, London (2013); Inscription: Drawing/Making/ Thinking, Jerwood Space, London Solo exhibitions include: Grammar of Ornament, jaggedart, London & New Hall Art Collection, Cambridge (2014); Silhouette & Filigree, Marlborough Gallery, London (2009); Fragmented Images, Wallace Collection, London (2007). Recent prizes include: Jerwood Drawing Prize, First Prize (2006). She lives and works in London.

STEPHEN HUNTER (b. 1964 Greenock, Scotland) studied Tapestry at Edinburgh College of Art (1982-86); Post Graduate Diploma at Edinburgh College of Art (1986-87). Selected group exhibitions include: Representing the UK at Lodz Textile Art Triennale, Poland (2010); In Perspextive, Royal Scottish Academy Gallery, Edinburgh (2013); Land & Sjór, Gallerie Dynjani, Iceland (2010). He has had solo exhibitions in the UK, Lithuania and Ukraine. His work is in private and public collections in the UK, Poland, USA, Ukraine and Lithuania. Recent prizes include: 13 Miedzynarodowego Triennale Tkaniny, Highly Commended (2010) and various awards from the Scottish Arts Council and Edinburgh Council. He lives and works in Edinburgh.

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JONATHAN HUXLEY (b. 1965 London, UK) studied Royal Academy Diploma, Royal Academy of Arts, London (1989-92); BA Hons Fine Art, Trent Polytechnic, Nottingham (1986-89). Selected group exhibitions include: Art Paris, Grande Palais, Paris (2014); The Bermondsey Art Takeaway Pop Up, London (2014); Art Blind, Cologne (2013). Solo exhibitions include: Sons Arts Festival, 20th Anniversary, Olomouc, Czech Republic (2014); Less Than Zero, Waltman Ortega Fine Art, Miami (2013); Multiplex, Crane Kalman Gallery, London (2012). Prizes include: Art Blind, The Public Prize (2013). He lives and works in London

ALZBETA JARESOVA (b. 1987 Prague, Czech Republic) studied BFA Fine Art at Concordia University, Montreal, Canada (2006-09); MA Fine Art at Camberwell College of Arts, University of the Arts London (2011–12). Selected group exhibitions include: New Artists, Gallery Youn, Montreal, Canada (2014); The Future Can Wait, in collaboration with Channel 4 and Saatchi Gallery’s New Sensations exhibition, Victoria House, London (2013); Griffin Art Prize Shortlist Exhibition, Griffin Gallery, London (2012). Solo exhibitions include: A Catalyst for Remembrance, Griffin Gallery, London (2013). Recent prizes include: Griffin Art Prize, First Prize (2012). Her work has been featured in the Catlin Guide (2013) and the 100 London Artists iBook (2013). She lives and works in London.

AILEEN KEITH (b. 1953 Johnstone, Scotland) studied Fine Art at Edinburgh College of Art; Sculpture and Drawing (1979); and Postgraduate Diploma (1980). Selected group exhibitions include: Installations and Drawings, Finland (1998); Ladies Room, Collective Gallery, Edinburgh (1999); Transistors, Morioka Hashimoto Museum of Art, Japan, Royal Scottish Museum, Edinburgh, Trojems Kunstforening, Trondheim, Norway (2000). Solo exhibitions include: Default : Delete, Arts Complex, Edinburgh (2010). She lives and works in the Scottish borders.

SHIVANGI LADHA (b. 1991 Gwalior, India) studied Bharatnatyam Classical Dance, Senior Grade Level 2 at Ahmedabad University, India (2003-08); BFA Painting at College of Art, Delhi University, India (2008-12); MFA Fine Art at Wimbledon College of Art, University of the Arts London, London (2012-14). Selected group exhibitions include: Threads, Rag Factory, London (2013); Chain Reaction, Menier Gallery, London (2013); Disrupted, Crypt Gallery, London (2014); She lives and works in London.

LAURIE LAX (b. 1987 Canterbury, UK) studied BA Hons Fine Art at Bath School of Art & Design (2007-10); Foundation in Art & Design at University College for the Creative Arts, Canterbury (2006-07). Selected group exhibitions include: On Landscape Project, Guest Projects, London (2014); Voyage: sea Journeys, island hopping & trans-oceanic concepts, Künstlerhaus Dortmund, Germany (2013); A Drover Turns the Cattle, Monster Truck Gallery, Dublin (2011). Residencies include: Merz Barn, supported by a-n The Artist Information Company, UK (2014); Nida Art Colony, Lithuania (2014); Cow House Studios, Ireland (2010). She lives and works in Bristol.

ZOE MASLEN (b. 1992 Milton Keynes, UK) graduated with a First Class Honours in Fine Art from Oxford Brookes University (2011-14). Selected group exhibitions include: ISIS, Truman Brewery, Brick Lane, London (2014); REPLAY, OVADA Warehouse, Oxford (2014); PLAY Oxford Brookes Degree Show, Richard Hamilton Building & The Glass Tank Gallery, Oxford (2014). She lives and works in Milton Keynes

KATE MORRELL (b. 1983 Leeds, UK) graduated with an MA from the Royal College of Art (2010). Selected group exhibitions include: Pots before words, Gallery II, University of Bradford (2014); London Art Book Fair, Whitechapel Gallery,

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London (2012-13); Sublime Transactions, The Armitt Museum, Ambleside, Cumbria (2012); 2HB: What we make with words, Centre for Contemporary Arts, Glasgow (2011). Prizes include: Man Group Drawing Prize, Second Prize (2010); AGYU Artists’ Book of the Moment Prize, The Art Gallery of York University, Toronto, Canada, Shortlisted (2014). Her recent book work, Alpine Spoilers, was acquired by the Tate Gallery. She lives and works in London.

SIGRID MÜLLER (b. 1962 Schwäbisch Hall, Germany) studied Diploma in Graphic Design at the Georg Simon Ohm University of Applied Sciences Nuremberg, specialising in illustration (1985-91). Selected group exhibitions include: London Art Fair, London (2013; 2011); 20/21 British Art Fair, London (2012). Solo exhibitions include: Martin Tinney Gallery, Cardiff (2010; 2004; 2001). Her work was purchased by the Derek Williams Trust for the National Museum of Wales (2001). She lives and works in Gower, South Wales.

HITESH NATALWALA (b. 1964 Nairobi, Kenya) currently studying for a PhD, Curtin University, Perth (2010-present); P.G.C.E. in Art and Design, Department of Art & Design, London University (1992-93); BA Hons Fine Art at St Martins School of Art, London (1986-89). Selected group exhibitions include: Sydney Art Fair, MARS Gallery, Melbourne (2013); Ad Infinitum, Gallery Nature Morte, New Delhi (2010); Urban Myths and Modern Fables, Doris McCarthy Gallery, Toronto, Canada (2008). Solo exhibitions include: Lets Go!, Gallery Reis, Singapore (2011); Paksploytation, Gallery Barry Keldoulis, Sydney (2009); a lack of marmalade was my only real grievance, Chatterjee & Lal, Mumbai (2009). Prizes include: ABN Amro Emerging Art Prize, Sydney (2006-07). He lives and works in London.

PETER OLE RASMUSSEN (b. 1954 London, UK) studied BA Fine Art, Painting at Chelsea School of Art (1972-77). Selected solo exhibitions include: Disparates, Eagle Gallery, London (2014); DVH panel

paintings, Raumx, London (2013); In the penalty area, Campden Gallery, Gloucestershire (2010). Selected group exhibitions include: RE and RWS Summer Exhibition, Bankside Gallery, London (2013); Panel Paintings, Eagle Gallery, London (2013); Bite: Artists Making Print, Mall Galleries, London (2012). Selected awards include: Bite: Artists Making Print Exhibition, RE Award (2012); Kirsten Kjaers Museum Residency, Jutland, Denmark (2005); Fundacion Valparaiso Residency, Almeria, Spain (1999). He is represented by Emma Hill, Eagle Fine Art, London. He lives and works in London.

KATIE SOLLOHUB (b. 1969 Winchester, UK) studied BA Social Anthropology at University of Sussex (1989–92); HND Fine Art at Northbrook College, Worthing (1999-2001). Selected group exhibitions include: RA Summer Show, Royal Academy, London (2014); 20 Painters, Phoenix Gallery, Brighton (2014); Ruth Borchard Self-Portrait Exhibition, Kings Place Gallery, London (2011). Solo exhibitions include: Turner’s House, London (2014); Hop Gallery, Lewes (2012); Shoreditch Gallery, London (2004). Recent prizes and awards include an ACE grant for Artist in Residence project at Turner’s House Twickenham (2014-15); and winner of the Cranleigh Open (2010). She lives and works in Shoreham by Sea, West Sussex

LEXI STRAUSS (b.1977 Nottingham, UK) studied BA Fine Art at Hereford College of Art (2009-11) and MA Painting at Royal College of Art (2012-14). Selected group exhibitions include: John Moores, Walker Gallery, Liverpool (2014); Exeter Contemporary Open, Pheonix Arts Centre (2014); Anthology, Charlie Smith gallery, London (2013). Solo exhibitions include: Empty Chairs at The Institute of Art and Ideas, The Globe, Hay on Wye (2013). An exhibition is currently being planned (2015) at MAC, Birmingham. Recent prizes include: a nomination for Saatchi New Sensations (2014); bursary award from the Elmley Foundation (2012-13); Windsor and Newton Scholarship at the Royal College of Art (2012). She lives and works in London and the West Midlands.

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SALLY TAYLOR (b. 1977 Bury, Lancashire) studied BA Fine Art: Practice & Theory (1995-98); MA Studio Practice at Lancaster University (1999-2000). Selected group exhibitions include: Derwent Art Prize 2014, Mall Galleries, London and tour (2014); Paint Like You Mean It, Interview Room 11, Edinburgh (2014); Sketch 2013, Rabley Contemporary Drawing Centre, Wiltshire and UK tour (2013-14). Solo exhibitions include: Confused Heads, Duckett and Jeffreys, North Yorkshire (2013); All Say The Same, Ryedale Folk Museum, North Yorkshire (2011); Marks and Mouths, PS2, mima – Middlesbrough Institute of Modern Art (2010-11). Work included in Drawing Paper #6, co-curated with Tate Liverpool to coincide with the Liverpool Biennial (2012); Jerwood Drawing Prize (2011; 2009; 2004). She lives and works in North Yorkshire.

KATY WALLWORK (b.1986 London, UK) studied BA Hons Sculpture and Environmental Art at the Glasgow School of Art (2007-11). Selected group exhibitions include: CHANCE//ACTION, Kingsgate Trust, London (2013); PRISM 10 (Celebration), The Orchard Centre, Sheffield (2011); NO FOOD NO DRINKS NO STICKY LOLLIES, Stattbad Wedding, Berlin (2010). She lives and works in London.

DIANE WELFORD (b. 1967 Middlesbrough, UK) studied BA Fine Art at Cleveland College of Art and Design (1996-00); MFA Fine Art at the University of Newcastle (2001-03). Selected group exhibitions include: Sluice Art Fair, London (2013); Jerwood Drawing Prize (2010); Northern Graduates, New Academy Gallery and Curwen Gallery, London (2000). Solo exhibitions include: Materialising Thought, Domino Gallery, Liverpool (2012); Seeing in a Different Light, Platform 1a, Middlesbrough (2010); A Space that Exists Just for Listening, Liverpool Hope University, Liverpool (2006). She was nominated for The Northern Art Prize (2010). She lives and works in Redcar.

DANIEL WHEELER (b. 1976 Pontefract, UK) studied BA Fine Art at Chelsea College of Art (2010-13). He lives and works in Southend.

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The Director of the Jerwood Drawing Prize and the Jerwood Charitable Foundation would like to thank everyone who has contributed to the origination of the Jerwood Drawing Prize 2014 exhibition.

In particular: Project Management, Marketing and PR, Parker Harris.

Selection Panel Coordinator & Co-founder, Paul Thomas

Chief Technician, Marc Thomas

Jerwood Visual Arts, Sarah Williams, Hannah Pierce, Oliver Fuke, Lauren Houlton, James Murison and Nick Tudor

The 2014 Team of Handlers and Administrators Nancy Allen, Gayathri Anand, Alvin Babbea, Charlotte Bain, Phoebe Baines, Sophie Birch, Marion De Saint Blanquat, Natalia Boteva, Marta Calosci, Ines Càmara Leret, James Collins, Gavin Edmunds, Ben Edmunds, Mary Furniss, Barney Gammond, Eliza Garvin, Alice Gray, Victoria Grenier, Charlotte Hawkins, Harriet Horner, Daniel Johnston, Sultan Kinns, Freya Lester, Liza Mackintosh, Nick Macneil, Ella MacVeigh, Kieron Marchant, Francesca Mollet, Gareth Morgan, Rosa Nussbaum, Sarah Palmer, Abigail Payne, Helen Rawlins, Moira Salt, Jhih-Ren Shih, Georgia Sowerby, Ala Tayebi and Tabitha Wilson.

The 2014 Regional Collection Centres, their Representatives and the Transportation Team The staff at Wimbledon College of Art, University of the Arts London; Dan Young and Abbie Phillips, University of Gloucestershire; Annabelle Evans, Claire Chalmers, Oisin Gallagher and Sarah Sheard, Edinburgh College of Art; Carl Rowe, Mihaela Colibasu, Joseph Doubtfire and Lloyd Smith, Norwich University of the Arts; Richard Talbot, Sofija Sutton and Kathryn Brame, Newcastle University; Kerry Harker, Miriam Thorpe and the team at The Tetley, Leeds; David Tinkham, Sophia Sample, Abigail Payne, Sue Handley-Merrick and Jacqueline Anderson, Bath School of Art and Design, Bath Spa University; Hannah Jones, Leah Harris, Paul Hillon, Andy Cluer, Reiss Portman, Jem Williams and Charlie Wildy, Plymouth College of Art; Art Moves of Chelsea, Picture Post and South Hams Express.

The 2014 Tour Partners and their Representatives Cheltenham Art Gallery and Museum: The Wilson The Tetley, Leeds The Gallery, The Arts University at Bournemouth The Burton Art Gallery and Museum, Devon

ACKNOWLEDGEMENTS