Exhibition catalog of drawing vẽ triển lãm 2012

Argentina Australia Belgium Brazil Bulgaria Canada Colombia Denmark Egypt France Germany Greece Italy Japan Mexico Montenegro NetherlandsRussia Serbia Spain Sweden Switzerland Turkey Uni

International Exhibition of Contemporary Drawing

swiss art space

place suisse des arts schweizer kunstraum

s w i t z e r l a n d

Contemporary Art Review

swiss art space | place suisse des arts | schweizer kunstraum

Drawing ‘12 | 3

International Exhibition of Contemporary Drawing

© SAS 2012 / Image P Dupont, Digital transformation D.S Stefanovich

This autumn, in Switzerland…

Swiss Art Space hosts Drawing 2012,

international exhibition of contemporary art

of drawings in November 2012 in Lausanne, Switzerland.

The aim of the Exhibition is to present contemporary art of drawing from artists all around the world in their different forms and variations to Swiss public.

Drawing is first the most direct, intimate, contact between the artist and his art in material media Through drawing we can see all of the artists sensibility, energy and search for expression in a quick and not hidden view

of his mind and soul.

Unfortunately a great number of contemporary artists drawings is not seen by a great number

of public With the concept of Drawing 2012,

we would like to make a difference!

The month of November is in the middle of the autumn art season, known for lot of public interest in art after lazy summer holidays, and that was a reason for choosing November Bringing a major art exhibition of contemporary drawing art is a great present to art life of Switzerland and at the same time a big challenge for Swiss Art Space.

Yours sincerely

Laurence Bettens-Girod

Swiss Art Space-Drawing 2012

Lausanne, Switzerland

International

Exhibition of

Contemporary Drawing

November 1 - 30, 2012

Exhibition 1 | November 1 - 7 Exhibition 2 | November 8 - 20 Exhibition 3 | November 22 - 30

swiss art space | place suisse des arts | schweizer kunstraum

Argentina Australia Belgium Brazil Bulgaria Canada Colombia Denmark Egypt France Germany Greece Italy Japan Mexico Montenegro Netherlands

Russia Serbia Spain Sweden Switzerland

Turkey United Kingdom United States of America

International Exhibition of Contemporary Drawing

Arnedo Mercedes Argentina 10

Bastien Alexandra Canada 11

Berger Jean-Luc Switzerland 12

Bjelica Jelena Serbia 13

Böttger Frank Switzerland 14

Breidenthal Derrick United States of America 15

Claux Tatiana Russia/France 16

Csaki Istvan Turkey 17

Davies Robert Miles United Kingdom 18

Demière Christine Switzerland 19

Doyle Avalyn Australia 20

Fabrizzi Karenina Italy 21

Flint Sato Christine United Kingdom/Japan 22

Gutierrez Nelson United States of America 23

Hardiment Tilney United Kingdom 24

Hathout Miriam Egypt 25

Howe Stacy United States of America 26

Jungo-Mondoux Catherine Switzerland 27

Kavvatha Antigoni Greece 28

Kojić Tijana Serbia 29

Kok Nico Netherlands 30

Kolff Inger Netherlands 31

Kosić Nikola Montenegro 32

Kruimer Gerda Netherlands 33

Lear Jill United States of America 34

Lloyd Nick United Kingdom 35

Marjanović Saša Serbia 36

Marmet Véronique Switzerland 37

Meek Carl United Kingdom 38

Mermoud Sylvie Switzerland 39

Middelmann Naomi Switzerland 40

Newman-White David Australia 41

Opstelten Karen Netherlands 42

Pajak Jacques France 43

Paldam Jens Denmark 44

Pantillon Anne Switzerland 45

Pedrosa Valentin Spain 46

Pina Yara Brazil 47

Plein Nadja Gabriela Germany 48

Popova Milena Bulgaria 49

Rage Peter Switzerland 50

Rodriguez Oscar Colombia 51

Roos Pris Netherlands 52

Salaški Milica Serbia 53

Senoj Mit United Kingdom 54

Stanojević Jovanka Serbia 55

Tank Douglas Christian Switzerland 56

Ten Wolde Nel Australia 57

Tingård Emma Sweden 58

Tretyakova Tatyana Russia 59

Tucović Jovana Serbia 60

Tucović Milan Serbia 61

Turney Wieland Barbara Australia 62

Voigt Wolf-Gunter Germany 63

Walker Ernesto Mexico 64

Wolfskämpf Andrea Dora Germany 65

21

Belgium

1 | Les Baux 2 / detail

Bamboo pen and ink

| 50 x 36 cm | 1999

2 | Toscane 1 / detail

Graphite

| 50 x 36 cm | 2002

3 | Les Baux 3 / detail

Bamboo pen and ink

| 50 x 36 cm | 1999

Do you give a title to your artwork ?

Yes, mostly for organisatory reasons

Do you have a visual image of

your work before its creation ?

At the start with a vague idée,

then a response with the progress of the work

When do you know a work is completed ?

When there is no more to add

How long can you work on your drawing ?

Depending on the technique I am using,

for oil on canvas for example sometimes

two weeks till two months

Do you listen to music ? Where and how long ?

Yes, in my studio, when I am working;

keeps the noise outside and helps me concentrate

Are you alone when you are working ?

Yes, otherwise I would be distracted

What helps and what bothers you when you work ?

Classical music helps, modern commercial beat bothers

How do you feel when people look at your work ?

When the viewer stays a wile longer before a picture, I think there is a visual communication

What would you change in today’s art world, if you could ?

That the artist’s knowledge and technique is approved

When did you start to think

of you as a future artist ?

As a painter, approximately

at the age of twelve

Achille

Drawing ‘12 | 9

31

Visualisez-vous votre oeuvre avant sa création ?

Non, il s’agit d’un travail d’esquisse réitérée en quête d’orientation Un crayon, une page Dès l’instant de

la trace et durant une fraction de seconde surgissent des espaces/figures Ils me permettent d’imaginer

ou voir plusieurs points de vue Je reprends mon souffle et chevauche la première trace, ainsi de suite Pendant des instants très courts je passe dans plusieurs ”espaces/figures“, qui se télescopent et

se redéploient par séquences (…esquisse réitérée… )

Durant ces élans, se révèle une forme/espace

plus explicite: me voici donc orienté (… en quête

d’orientation) Il faut savoir s’arrêter, un tracé de trop

et tout l’espace et la figure qui l’habite s’écroulent But: me tenir au plus près de l’acte créateur et vous faire plaisir

13

Rêvez-vous de vos oeuvres ?

Je rêve en effet souvent de mes personnages ou de la réalisation même d’un dessin Il m’accompagne partout, autant en voyage ou sur la terrasse d’un café durant la journée que dans mes rêves, la nuit C’est particulièrement le cas pour ces séries puisque depuis de nombreuses années, je cherche

et collectionne des images anciennes, en rapport, de près ou

de loin, avec ma propre histoire et celle des mes origines

Avez-vous pensé qu’un jour ce genre d’art pourrait se terminer ?

Selon moi, le dessin ne sera jamais fini Que le dessin ait été mis de côté ou sous-estimé ces dernières décennies, possible, mais je n’arrive pas envisager sa fin: il est intrinsèquement lié

à l’homme, à son activité artistique A mon avis, c’est à la fois

le commencement et la base de toute réalisation picturale

La magie exercée par le simple fait de tracer une ligne sur une surface est inévitable, ! donc infinie Et bien heureusement!

1 | Mandala 1

Intervention au stylo à bille sur copie d’original

(graphite sur papier) | 21 x 29.5 cm | 2011

2 | Mandala 2

Intervention au stylo à bille sur copie d’original

(graphite sur papier) | 21 x 29.5 cm | 2011

3 | Mandala 3

Intervention au stylo à bille sur copie d’original

(graphite sur papier) | 21 x 29.5 cm | 2012

Combien de temps pouvez-vous travailler sur votre oeuvre ?

Il m’arrive de travailler un dessin pendant des mois J’ai fréquemment recours

à une loupe, et à toutes sortes de mines, pour mener à bien ce travail minutieux;

à défaut, les détails sont inaccessibles

Toutefois, je ne travaille pas en continu sur un dessin: j’y reviens à intervalles irréguliers, le reprends et le retouche, tout en exerçant une activité picturale

en parallèle Même lorsque mon travail est avant tout centré sur la peinture, j’ai très souvent besoin de retourner

au dessin, sans doute la nécessité

de me retrouver dans un cocon,

un monde clos, intime

Argentina Arnedo Mercedes

Drawing ‘12 | 11

31

2

1 | A bit of life

Colored pencil on illustration board

| 28 x 20 cm | 2010

2 | Beware, here I come

Colored pencil on illustration board

| 38 x 45 cm | 2010

3 | Bitten by the inevitable / detail

Colored pencil on illustration board

| 28 x 45 cm | 2010

When did you start to think of you

as a future artist ?

I create since I was the age of 5 years old

Since the moment my mother gave me

my first box of coloured pencils

I’ve always drawn I took refuge in my room to do my drawings When I was a teenager, I started taking art classes and took it much more seriously I did not really know what it was to be an artist, but I knew that I would devote my entire life to creation Later, I had to think about how to make a living with my work

I always wanted to draw or paint every day of my life It fascinates me completely and I think about this all the time I had no other choice!

Are you alone when you are working ?

Yes For my part, I prefer to be alone in my studio from beginning to end I do not like to be disturbed

by anyone or anything at all I have a great need to

be focused on my work to work well I am inspired with music and I work hours to finalize all the details

of my drawings I need solitude and peace to create works that I have in mind

Do you dream of your works ?

Yes, very often I also have ideas that can come

to me suddenly in the day, no matter what I do

At night, my dreams are very creative and often give me great ideas for my work I have a lot

of creativity at night and early morning

Bastien Alexandra Canada

3

Comment choisissez-vous les couleurs ?

Visualisez-vous votre oeuvre avant sa création ?

Quand votre œuvre est-elle terminée ?

Le dessin est pour moi quelque chose qui se

construit au fur et à mesure de son évolution sur

le papier Je visualise rarement totalement le sujet

dès le départ Parfois j’ai une idée en tête et une

autre fois, c’est quelque chose ou quelqu’un qui

accroche mon regard qui me donne le point de

départ Ce qui rend la création dessinée intéressante

c’est précisément de ne pas savoir tout ce que je

vais y mettre dès le départ Le dessin est terminé

lorsque je me rends compte que ce que j’ajoute

est superflu et que le dessin ne “m’appelle plus”

Cela peut prendre quelques heures jusqu’à

quelques jours, le temps m’importe peu

Drawing ‘12 | 13

31

Ugljen, tuš, kreda | 50 x 35 cm | 2010

Vizualizujete li vaš rad pre njegovog stvaranja ?

Vidim sebe kao svako drugo ljudsko biće koje ima potencijale da kaže, objasni, kreira svoju težnju, a svoj rad kao jedan čist, prazan prostor, gde postoji mogućnost

da ta težnja postane umetnost

Koliko dugo radite svoj crtež ?

Dešava se da uradim rad za veoma kratko vreme,

da ne zahteva nikakve naknadne dorade,

a ponekad se dešava da uopšte ne mogu da završim rad, tada ga pustim da “sačeka” svoje vreme, što može da bude i više od par godina

ili možda nikad… ?

Bjelica Jelena Serbia

32

1 | La leçon d’anatomie / detail

Comment donnez-vous un titre à votre oeuvre ?

Le titre de mes oeuvres est déterminé a posteriori

en fonction de l’impression qu’elles m’inspirent

Chacun est cependant libre d’y amener sa

propre interprétation

Visualisez-vous votre oeuvre avant sa création ?

Une fois le format déterminé je construis les bases

d’une composition qui évolue ensuite librement et

peut finalement être plus ou moins proche

de mon idée première

Quand avez-vous commencé à penser

à vous comme un futur artiste ?

En toute humilité, je me considère davantage

comme un artisan que comme un artiste

Mes dessins sont plutôt à considérer comme

des “Fantaisies” au sens qu’on leur donnait

au XVIIIème siècle

Switzerland Böttger Frank

Drawing ‘12 | 15

3

2

1

Why do your drawings have no titles ?

Most of the time I do not title my drawings because many

are studies Some simply exist in my studio as a reference so

I do not feel the need to title them I also create drawings of

the same subject over and over with different materials, sizes

colours and so on So a lot of the drawings are considered

preliminary to me An extension of a sketch I use a numbering

system in many cases simply to help categorize the work

When do you know a work is completed ?

My drawings tend to have a defined goal before I begin Such

as subject and composition style So once I achieve the detail

and colouring I like, the drawing is complete Or if I am doing

a drawing to experiment with a specific paint or ink sometimes

it may not look completed to another person, but it is to me

because I have completed the experiment My oil paintings

are different These tend to be an expression of emotion and

atmosphere through oil paint so they are more difficult to

judge as finished In all my art I try to exceed what

my original expectation was for the work, so if a work of art is doing this it is a good indication it is finished Or in some cases beyond saving, so it is better to begin again, and finish unsuccessfully

How do you feel when people look at your work ?

I enjoy showing my work Most of the intent is to spark personal memories Not simply my memories but the viewers So I put enough of my personal ideas in my work as a starting point But not so much that it is strictly my identity I believe using art

as a stepping stone to a discussion of each others experience is much more rewarding for everyone

If in showing my work these discussions come up

I feel like my art is working outside of me

(on some level) in a positive way

21

Quand vous vient-il l’inspiration,

le désir de faire ce que vous faites ?

Trois choses me donnent l’envie

de dessiner instantanément:

1 Quand je suis devant un beau

tableau de nu d’un autre peintre

2 Quand je suis à Brugges en Belgique,

on dirait que cette terre est imprégnée

de la mémoire des peintres flamands

qui ont travaillé là…

3 Quand je vois mes modèles prendre les poses,

parfois c’est littéralement à couper le souffle

et j’ai envie de fixer ce moment de beauté

indicible pour le partager!

1 | Salomé

Mine de plomb et rehauts

au pastel sur papier

| 65 x 50 cm | 2012

2 | Présence

Mine de plomb sur papier

| 50 x 60 cm | 2012

3 | Regard de Madone / detail

Mine de plomb sur lin double avec rehauts au pastel

| 30 x 40 cm | 2012

Russia/France Claux Tatiana

Drawing ‘12 | 17

2

13

1

1 | The Old Arcade, Rock Park Spa, Llandrindod Wells / detail

What inspires you to do the work that you do ?

I love to draw the natural world I tend to scrutinize

the same subject in a way that allows me to

under-stand it I love Sickert’s view “If you can draw you can

paint All you need to know is which end of the

brush to put in your mouth.”

How do you feel when people look at your work ?

Embarrassed ! I am always surprised by reaction to

my work I hope they get a glimpse of the strength,

beauty and truth of the subject that I have drawn

When did you start to think of yourself

as a future artist ?

I have always been an artist ever since I was a child

I always need enquiry and space for expression

United Kingdom Davies Robert Miles

Drawing ‘12 | 19

31

un titre à votre œuvre ?

Une œuvre quelle qu’elle soit a une individualité et lui donner titre est un peu comme donner un nom

à un enfant, c’est donc un moment important En choisissant un titre,

je prépare mon travail pour sa sortie

de l’atelier et sa rencontre avec le regard

de l’autre, son ressenti Le nom va donner des indications sur mes intentions, que ce soit pour préciser, brouiller ou ouvrir des pistes de lecture

Etes-vous seule quand vous travaillez ?

La solitude est une des composantes essentielles pour une totale disponibilité à son travail Quelle que soit la démarche entreprise (dessin ou sculpture), je la pratique comme une forme de méditation et j’ai besoin cette composante pour me sentir en phase

Cependant cet isolement n’est que physique, car j’écoute volontiers la radio ou de la musique

en travaillant et je me sens reliée aux autres

Quand vous vient-il l’inspiration,

le désir de faire ce que vous faites ?

L’inspiration est omniprésente, des idées me traversent constamment l’esprit; ce qui manque, c’est le temps pour les réaliser…

Demière Christine Switzerland

1

1 | After the fire

Brush, charcoal, watercolor, red earth pigment, acrylic

| 57 x 77 cm | 2008

2 | Oyster beds, Wallaga lake East

Estuarine silt, pastel, water-marked, pastel, graphite and collages

| 56 x 76 cm | 2012

3 | Black wattle trees

Grid, printed + ink, watercolor, pastel

| 82 x 76 cm | 2009

Do you visualize your work before its creation ?

Since I have a very strong connection with nature,

I immerse myself in the sounds and presence of

wilderness: rivers, trees, mountains, and most

re-cently lakes, and usually in places where I sense

Aboriginal people have been These are sometimes

sacred sites but not always, even shell middens and

campsites attract me I merge into a meditation and

may suddenly be aware of a colour which seems to

call me I had a period of painting the landscape in

pinks and oranges and only because I was led to do

so by the land I put my thinking aside and allow

the spirit within and without me to guide

the creation before me

How do you feel when people look at your work ?

I feel excited to have an opportunity

to share the experience that led me to express my work I have been fortunate

to live in some wonderful places which have exceptional vitality and I believe people re-connecting with the beauty

of the earth is mutually very beneficial

Also, when I talk about my travels around the world and research into other cul-tures, I often see a light of enthusiasm and sense inspiration in the eyes of the person I am talking to This is a perfect meeting of mind, heart and soul and essentially my dharma

Australia Doyle Avalyn

Are you alone when you are working ?

Yes I can´t work with people around

I have my studio alone and for me this

is very important to have my silence,

my space, sometimes I stare at one of

my paintings for a long time analyzing

it and in those moments I have a total concentration, it almost seams like the world stops

Are you dreaming of your works ?

Sometimes when I dream I have some images or ideas of my future work

If I am working on a specific piece that

is especially difficult the answer comes

to me in a dream, and then I know exactly how to proceed and finish it

When did you start to think of you

of Caravaggio and almost in tears I said to her…

”mother, I know what I want to be when I grow up

I want to be a painter“ So I guess I think of myself

as an artist since then

Fabrizzi Karenina Italy

13

1 | From Line to Land 1

Sumi ink on Japanese paper

| 36 x 32 cm | 2009

2 | From Line to Land 2

Sumi ink on Japanese paper

| 36 x 31 cm | 2009

3 | From Line to Land 5

Sumi ink on Japanese paper

| 32 x 31 cm | 2009

Do you visualize your work before its creation ?

Before I start painting I visualize the general lay out

of the composition, such as the direction of the flow

of the sumi, the balance of light and dark After it

dries, I use a tiny brush for detailed line work- this

isn’t visualized I follow the flow of the sumi ink

patterns and my feelings

When do you know your work is completed ?

Some work ‘completes itself‘ I naturally come to a

full stop - the energy evaporates With other pieces,

I finish them but they are not completed I come

back to them later to continue working on them

United Kingdom/Japan Flint Sato Christine

Drawing ‘12 | 23

1

1 | The Death of Fear / detail

Ink and pencil on paper

| 127 x 91 cm | 2012

2 | The Death of Fear

Ink and pencil on paper

| 35 x 28 cm | 2012

3 | The Death of Fear / detail

Ink and pencil on paper

| 35 x 28 cm | 2012

How do you give a title to your work ?

I usually give a title to my work that directly relates to the subject I’m work-ing with For this particularly case,

“The Death of Fear”, call attention to the latest social uprisings that have taken place worldwide I’m intrigued with the manifestations and in some cases the revolutions that we have witnessed

in the past 2 years Individuals have lost their fear of governments and establish-ments and take to the streets to demand change Irrespective of whether or not

we agree with the uprisings, when we see images of the demonstrations, they look strikingly similar around the world

How long can you work on your drawing ?

Depending on the complexity and the scale

of the work, it may take me from a few hours

to several months to complete a specific work

Are you alone when you are working ?

I’m usually alone when I’m working in my studio

Gutierrez Nelson United States of America

23

When do you know your work is completed ?

When there is balance in the work

When inspiration comes, what are you doing ?

Act on it immediately: I draw

Do you dream of your art ?

All the time

Drawing ‘12 | 25

31

of fine arts for 5 years After graduation unlike most of my colleagues I felt like I should continue at this career although being an artist specially in Egypt is a BIG CHALLENGE, so I had my 1st solo exhibi-tion 2007 and continued exhibiting my work and took my artistic career more seriously

How long can you work on your drawings ?

For me drawing isn’t just about creating beautiful artwork, it is also a release of energy whether positive or negative so I consider my work done

by the complete release of the energy I usually make a drawing at a time which takes from 2-3 hours but never get back to it once its done

How do you feel when people look at your work ?

Receptors impression is what determines my ings impact and gives me satisfaction so I care to watch the impression of my exhibition visitors and since I love making cheerful and colourful drawings

draw-I enjoy seeing the smile upon their face and come content that I could set a smile on some-body’s face even for a few moments

be-Hathout Miriam Egypt

21

1 | Knife

Charcoal, pencil, & ink | 45.7 x 33 cm | 2012

2 | Sow Coiffure / detail

Charcoal, pencil, ink, acrylic | 55.9 x 29.2 cm | 2012

3 | Swarovski / detail

Charcoal, pencil, ink, acrylic | 44.5 x 39.4 cm | 2011

How do you give a title to your artwork ?

I often like to title my work in a literal way

My work is elegant by all appearances and

by giving it a banal title I bring humor to the work

Some times I will title a work with a grandiose

reference to poke fun of myself and the intellectual

game we play to implode meaning in our work

Do you have a muse ?

The Gothic tropes have a tremendous influence on

my work Victorian horror fiction, films about

haunt-ing and dementia run parallel with my adoration for

the early surrealists As children of Victorian parents

the surrealists understood the idea of the uncanny

Influenced by the advent of psychology and a

fascination with violence they developed an

un-nerving assemblage of work with chance

tech-niques I use in my own work

Applying the marriage of contraries

I work to create the sense of unease

What is repulsive can appear beautiful

Decadence and decay are one What is seemingly narrative is veiled with ab-surdity What is wild and unmannered seep into what is ordered and rational

How do you feel when people look

at your work ?

There is a sense of eager anticipation when I witness people looking at my work The viewer’s mind always twists

my images to see objects I never tended Upon hearing their responses

in-I feel in-I am able to better articulate their desires and fears My work then func-tions like a Rorschach ink blot

United States of America Howe Stacy

Etes-vous seule quand vous travaillez ?

C’est dans la solitude, le silence que la concentration est la meilleure pour moi, c’est là que je peux me “ramasser” sur moi-même, comme un ressort intérieur, tout oublier ce que j’ai appris et ensuite déposer ce qui surgit… la main au service de la vie, du mouvement

de l’être qui jaillit

Jungo-Mondoux Catherine Switzerland

23

The title of a work results in many

different ways One of them is based

on the feeling that the work conveys

Do you visualize your work

before its creation ?

I visualize my work of art completely

before I start Of course in the process

of working new elements may appear,

which can change the original

conception

When is your artwork completed ?

When I feel that my original conception

has been realized

How long can you work

on your drawing ?

The time I spend on one work varies

according to how close I get to my

original idea for the specific work

What helps and what bothers you when you work ?

I find that my concentration is best at night

The absence of sounds, other than my music, is the best working conditions

How do you feel when people look at your work ?

I feel both curiosity and anxiety about the reaction

of the viewers, especially of people knowledgeable about art

Do you dream of your art ?

Sometimes my dreams refer to my works and often I find solutions to problems concerning the progress of the work

What would you change in today’s art world,

I appreciated art since I was very little and

I was always painting, but I only thought of myself as a potential artist when I had to decide my future profession

Greece Kavvatha Antigoni

Drawing ‘12 | 29

31

2

1 | Blinded by the sun / detail

Pen, ink, stamping, acrylic and watercolor on paper

Pen, ink, stamping, acrylic and watercolor on paper

| 140 x 80 cm | 2012

When did you start to think

of yourself as a future artist ?

I believe that I started to think of myself as a future artist since early years of my life But, on the other hand, “to become a artist” isn’t so much a question

of making the decision, but overcoming the obstacles, both external and internal, which

must necessarily be encountered on the path of accomplishing and expressing of our own nature

Have you ever thought that one day this kind of art could end ?

I believe not, because, for an artist, drawing is usually the first outsourcing of an idea

Plus, drawings, and works of art in general exist

to provide more than just a mere quotation of the reality True art should be an expression of

a spirit that does not detest verve and ridicule beauty, that does not celebrate a combination of dismal feelings, skepticism and cynicism, as the only legitimate and dignified attitude towards the world

Kojić Tijana Serbia

3

What would you change in today’s art world,

if you could ?

I would like more attention to the beauty

of simple things, the hearth of the matter

That is already complex enough

Penetrate the core, the simpler the better

What inspires you to draw ?

Geometric figures inspire me because they are at

the basic of our existence The square, for example,

is one of the purest forms A uniform shape which

may take many other shapes, depending on

the material that is used A square is a cube

when you make it three-dimensional That is one

of the reasons why I have two- and

three-dimensional work, it intrigues me

1 | Folded paper

Rubbing on folded paper with graphite

| 60 x 90 cm | 2012

2 | Squares and triangles 1

Rubbing with graphite

| 60 x 90 cm | 2001

3 | Squares and triangles 3

Rubbing with graphite

| 60 x 90 cm | 2001

Netherlands Kok Nico

Drawing ‘12 | 31

31

Your drawings don’t have titles Why ?

Since a few years I present my work as Untitled because I want people to be free to interpret

it themselves and to reflect on it freely

I want them to be able to feel whatever the work awakens within them

How do you feel when people look at your art ?

Showing my art in a way is showing myself

It makes me feel vulnerable and excited at the same time I like it when people halt and linger in front

of my work and start to talk about it I always wish

I could eavesdrop on them, without them knowing

I am the artist

Kolff Inger Netherlands

Do you visualize your work before its creation ?

I am pouring sculptures from my dreams

My figurative composition with extremely simplified

form of the sculpture has multiple meanings The

light reflection varies in color This effect is achieved

by contrasting light and dark, polished and matted

These light reflections direct my three-dimensional

way of thinking and create a form of a picture

Which is the best way to release my sensibility and

my need for a more complex expressions My main

link is drawing, which represents the fundamentals,

an idea, a still thought on paper, the first idea of

my work as an artist, as a painter or as a sculptor

Nevertheless, my drawing exists even as a specific

art discipline, which enriches the exhibition to have

an artwork with a complete artistic expression

What does your artwork symbolize?

My artwork symbolizes voices of various motifs with persuasive unities, where the colors of the painting need the drawing and where the drawing of figure bodies need coloring That is way the world in the painting and sculpture thoroughly corresponds with its fantasy-like composition as a whole where surreal organization of birds, people, horses in metamorphosis, is actually an illusion

of possible dimension My unity of style and motifs are built with a strong, expressive momentum and sharp contrast, while the precise abundance

of lines suggests space and accentuates volume and drama, justifies the conflict rejoices to the sky, calls for Rubens

Montenegro Kosić Nikola

Drawing ‘12 | 33

31

How do you give a title to your artwork ?

My work is serial Sometimes I give an artwork just

a number or a number and a colour These works have titles like Grid number 1 or Grid Drawing 2007/Silvergrey Sometimes I give nicknames to the works because some aspects of a work remind me of something special Like in this year: I made a series called “Singularities” A singularity is in general

a strangness, something on which the normal rules

or laws are no longer valid or no longer can be used The work entitled Singularity number 3 has the nickname “Sponge Bob” The drawings in this exhibition are titled due to the different positions of the viewer They have titles like:

Up, Down, Between, In, Along etc

Kruimer Gerda Netherlands

3

1 | Joshua Tree IV / detail

Charcoal, acrylic on paper

How do you give a title to your work ?

The work is about being in a particular place and

my attempt to transcribe that experience, and since

most of my drawings involve trees I always begin

by determining the latitude and longitude of the

chosen tree which then becomes the title of the

painting Any person knowing the title of the

painting can find the actual tree and experience

the place for him or herself

Do you listen to music ?

The drawings are very much about proportion and

the space between things The only kind of music

I can listen to while working is: Bach It is inspiring

Each piece, however, can take from one month to one year Some drawings have

to be left alone for a while to know what they need

United States of America Lear Jill