JERWOOD DRAWING PRIZE 2015

Published to accompany Jerwood Drawing Prize 2015 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 Editors: Anita Taylor and Parker Harris Photography: Benjamin Cosmo Westoby; photograph p34, Peter Stone Designed by: Matthew Stroud Printed by: Jigsaw

ISBN 978-1-908331-17-5

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 2015 exhibition & tour

5 Foreword, Shonagh Manson

6 Introduction, Professor Anita Taylor

8 The Selection Panel

9 Selection Panel Perspectives: Dexter Dalwood Salima Hashmi John-Paul Stonard

12 Catalogue of Works

70 Artists’ Biographies

80 About Jerwood Drawing Prize 2015 Award winners and selectors 1994 – 2014

84 Acknowledgements

CONTENTS

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JERWOOD DRAWING PRIZE 2015 EXHIBITION AND TOUR

16 September – 25 October 2015 Jerwood Space 171 Union Street London SE1 0LN jerwoodvisualarts.org

21 November – 31 January 2016Cheltenham Art Gallery and Museum: The Wilson Clarence Street Cheltenham Gloucestershire GL50 3JT cheltenhammuseum.org.uk

11 February – 9 April 2016Sidney Cooper Gallery Canterbury Christ Church University St Peter’s Street Canterbury Kent CT1 2BQ canterbury.ac.uk/Sidney-Cooper

23 April – 25 June 2016Falmouth Art Gallery Municipal Buildings The Moor Falmouth Cornwall TR11 2RT falmouthartgallery.com

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Last year, Jerwood Drawing Prize celebrated its 20th annual exhibition; 20 important years as a clarion call for the support and development of drawing in the contemporary landscape of art and culture.

This year, we are also proud to mark the 15th year of Jerwood Charitable Foundation’s support for the project. As an organisation which is still a teenager itself, we have been supporting Jerwood Drawing Prize for nearly as long as we have been constituted. It remains a singular experience from year to year, as new selectors take up the challenge of circumnavigating their own definitions of drawing, as new artists submit their works to the changing conversation. It is this renewed sense of dialogue, year on year, and the continuation of the project’s advocacy for the importance of drawing as a practice and activity that reinforce our belief in the project.

The quality of the exhibition is again this year outstanding, and with its plethora and diversity of work it allows plentiful room for critical discussion about the nature and status of drawing. In this show we meet familiar friends and new faces; we see joy and geometry, reflections taken from reality and vistas lifted straight from the imagination. Lines, marks and images are made using different methods and materials, including with words in selector John-Paul Stonard’s poetic response to the experience of selection.

This is a project on a truly national scale, and each year this publication sets out to recognise and thank the many individuals and teams involved. On behalf of Jerwood Charitable Foundation, whose core purpose is to support and nurture artists and their work, I would like to congratulate all the 2015 exhibitors, and thank each and every artist who submitted their work. I would also express the heartfelt thanks of our Trustees to all who have made it possible, particularly to co-founders of Jerwood Drawing Prize Professor Anita Taylor and Paul Thomas, our own gallery team at Jerwood Visual Arts, project managers Parker Harris and the important touring venues for the exhibition.

Shonagh Manson Director, Jerwood Charitable Foundation August 2015

FOREWORD

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INTRODUCTION

The annual Jerwood Drawing Prize exhibition continues to provide a forum to test, evaluate and disseminate current drawing practice. The exhibition aims to promote and reward excellence in contemporary drawing through the support and recognition of the work of established and emerging artists working in the field of drawing and who reside in the UK. This annual open submission exhibition enables us to gain knowledge and understanding about current drawing practice and about those working within the discipline in the UK.

Drawings are considered for inclusion in the exhibition by a panel of three selectors who represent the perspectives of practitioner, curator and writer, with expertise in the field of drawing. Each year the selection panel changes. The resultant annual exhibitions reflect the differing priorities and focus for each panel, which emerge in response to the work presented for their consideration. The selectors act as independent arbiters of the works submitted, and are tasked to identify and choose drawings that represent their combined interests and values in drawing. The panel select the works for the exhibition first, and then collectively choose the drawings that will receive the awards. The selection process and the outcomes then act as a catalyst to stimulating debate about drawing, through drawing, all set within this framework.

Our distinguished panel members in 2015 were artist and professor, Dexter Dalwood; artist, curator, educator and writer, Salima Hashmi; and art historian, John-Paul Stonard. We are immensely grateful to them for their remarkable energy, stamina and rigorous approach to the selection of the exhibition. Their further contributions to this publication reflect on their responses to this intensive and demanding process from their individual perspectives.

Works were submitted throughout the country via ten collection centres, which in 2015 were located in Bath, Belfast, Cardiff, Cheltenham, Edinburgh, Leeds, London, Newcastle-upon-Tyne, Norwich and Plymouth. The quality and scope of the overall 2015 submission demonstrated the attention to the role of drawing within the practice of both established and emerging artists, designers and makers. The 2015 selection panel saw each of the 3072 works submitted by 1592 entrants over two days in the studios at Wimbledon College of Art in July in London. Of these submissions 515 were by 264 applicants qualifying as students. As a result of this highly intensive selection process, 60 drawings by 58 artists were selected, including 6 student works from across the UK for the 2015 exhibition.

This exhibition marks 15 years of generous support from Jerwood Charitable Foundation for Jerwood Drawing Prize. This sustained support is truly remarkable and has enabled the project to develop and mature in the wider context of Jerwood Visual Arts under the successive leaderships of Roanne Dods and Shonagh Manson, the Director; Tim Eyles, the Chairman; and the Trustees. To work with Jerwood Charitable Foundation, and the wider Jerwood ‘family’ of organisations, with their inspirational vision, leadership and investment in supporting creativity, culture and the arts in the UK is an enormous privilege and honour.

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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; the students of Bath School of Art and Design and Wimbledon College of Art, University of the Arts London who work as handlers and administrators; Parker Harris who manage the administration of the project; Marc Thomas, chief technician; the Jerwood Space and Jerwood Visual Arts teams; the tour venue partners; those who work on the transportation, handling, website, design and print; Paul Thomas, co-founder and selection coordinator; Bath Spa University who support my involvement as director of the project; and our distinguished selection panel. Our most important thanks go to each individual who submitted works for consideration within the context of an open submission exhibition.

Congratulations to everyone with a drawing included in this exhibition – and especially to the award winners of Jerwood Drawing Prize 2015.

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 2015

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SELECTION PANEL

L-R: Salima Hashmi, Dexter Dalwood and John-Paul Stonard

Dexter Dalwood Artist

Salima Hashmi Artist, Curator & Writer

John-Paul Stonard Art Historian

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Jerwood Drawing Prize 2015

If I was to select a drawing show, I wanted to look for drawings that had energy and a sense of application – whether they were working drawings or drawings which have a singularity in purpose, an actual work on paper, or a work that develops the idea of drawing as an activity in itself.

It is quite rare these days to find observational drawings in pencil or charcoal in a secondary school art department. I do not think that drawing should be a reactionary activity but, frankly, if you are not given the opportunity to sit and draw what is in front of you between the ages of 11 and 15 it’s unlikely you will have the confidence to try again later. Drawing – as an intellectual activity which extends visual thinking – has been downgraded in secondary school education – and been replaced with a more user-friendly activity where personal expressionism is paramount. As a result, drawing as an observational skill is less a function of art in schools these days.

While I was a first year painting student at St Martins in the early 1980’s students were asked to go to the National Gallery, choose a painting, make drawings from it and return to the studio to produce a painted version. I wasn’t particularly proud of my clumsy version of El Greco’s Christ Throwing Out The Money Lenders but the experience of being required to draw from an existing painting was a revelation – years later I was able to make a connection between the strangely constructed interior of the El Greco and analytical Cubist paintings which only revealed themselves through the act of drawing it.

An important condition of drawing is that it doesn’t always have a specific intention, it is explorative, it can bear the evidence of correction and exploration of ideas and yet remained unformed. I would have liked to have seen more such rough drawings – I think Francis Crick’s sketch of what DNA might look like is one of the most beautiful drawings made in the 20th century.

As the judging progressed over two days, interesting trends which emerged:1. Repetition as a drawing activity – obsessive small mark making, filling huge sheets of

paper or tiny circles to make up an image.2. Drawings of trees – glades, forests, either photo-rendered or expressive and fantastical.3. Countless drawings of birds – more popular than any other creature.4. Big drawings – a surprising number of works were on rolls of paper – it’s interesting to

consider this trend, in view of how few large contemporary drawings I have ever liked.5. Photo-realist drawings with varying degrees of detail.6. Drawing projects with an internal logic of their own, sometimes with copious

notes attached.

In fact, most of the works in the final cut didn’t fit into the categories above. The majority of the works we selected were on paper but there are also two excellent video works that seriously consider drawing as an activity.

Dexter Dalwood Artist August 2015

SELECTION PANEL PERSPECTIVES

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Jerwood Jury Experience

The mere recollection of the jury experience of the Jerwood Drawing Prize is daunting. Did we really evaluate 3000 drawings in 48 hours? Did we do justice to the diverse visual feast presented? Were our responses appropriate? How heavily did we rely upon intuitive ‘readings’?

Coming from a vastly different part of the world, I was concerned about the relevance of my rather chequered history of teaching and evaluating drawings. After all, one had lived through times when life drawing was fraught with problems under a stifling military dictatorship, and had to be defended through devious ploys.

I regaled my colleagues on the Jerwood jury with one such anecdote. Vigilantes of a religious student group burst into my teaching studio, and strutted around glowering at the hapless male model in loincloth being studied by the students. I had to convince them I was a very reluctant instructor, simply complying with the ‘Government sanctioned syllabus’. There ensued a brief but serious discussion on how best to Islamicise life drawing.

Various useful suggestions were presented. One proposal was for a portrait of King Faisal of Saudi Arabia, which was summarily discarded because the King happened to be dead. The chat finally concluded on an amiable note after we agreed that the matter needed to be taken up by the Medical College next door, who could advise us on how to teach ‘Islamic Anatomy’. The vigilantes left, happy at having settled the matter of morality and life drawing in my studio.

Looking forward to pondering such questions at the Jerwood jury meeting, I was surprised at the noticeable absence of the nude as a subject. In general, the figurative was less favoured among the drawings than the built environment or the proverbial English landscape. Had the unclothed human body become too overburdened with the connotations of art history, or the feminist critique?

There was greater evidence of a delight in materials and fertile mark-making. One also sensed a withdrawal from the narrative as a reason for drawing, except for some memorable works selected for exhibition. The simplicity of spatial organisation of shape, value and space set some of the works apart in terms of pure visual economy.

One is occasionally intrigued by an image and the way it is rendered. It refuses to give up its meaning or its intention, lingering with the viewer to a point that one is compelled to test it by presenting it to a wider audience. Some of the drawings selected for exhibition were mysterious, beguiling, haunting. One hopes the conversations and criticisms they instigate will make it a worthwhile experience for the audiences they encounter.

Salima Hashmi Artist, Curator & Writer August 2015

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Lines

I am the shadow of a wing-tip Drawn, rising, across a screen; A blue slow-moving contour, Bloodline of a king and queen.

I am a sketch of summer gardens, The barest note of bygone days; Or the curlicues of custard creams, Biscuitfully arranged.

I am a continental drift of swifts, A snaking line of beating hearts; A shivering square of static wings as Swallows wheel and swerve the air;

I am the feathered vision of A maiden’s flight along the Thames; And a dark oxblood silhouette, With shadow half-submerged:

I am knowledge of things. A Skeleton, the bones of vision, I am function, underlying form, A circuit of stairways in space;

I am a dedication carved in Marble: true love, true friends. Or an epitome of greyness Scratched and rubbed, to no end.

John-Paul Stonard Art Historian August 2015

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ELISA ALALUUSUA

Unconditional Line, 2015 Video, duration: 7mins (still illustrated)

This video drawing explores a line across the skies and recreates it on a screen. As the piece takes off we move with it on a journey. The lines on the ground speak their own foreign language of order and safety that should not be compromised. The video is a reminder of the experiences of our own journeys, and the viewer completes the image though his or her memories. This particular trip belongs to a continuum of invisible lines drawn between London and Luusua in Finnish Lapland. Score improvised on the cello by Vera Leppanen.

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IAN ANDREWS

The diagram and the depiction, 2015 Ink on tissue paper, loose-leaf book, 53 x 78cm

One of a series of 14 hand-drawn books entitled The Circulation of the Sign developed from a range of sources including… A diagram made to reconstruct the “Babelling” collaboration at the Sluice Art Fair.

The Picasso Papers by Rosalind E Krauss, in which she explores the dislocation between the sign and what it depicts and the continually flexible and provisional relationship that exists between them. My continuing interest in how the mind builds, stores and loses memory. Inspired by my epileptic seizures and my mother’s struggle with dementia.

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ROBERT BATTAMS

Space for redevelopment, 2015 Handcut paper, 110 x 155cm

I respond to issues surrounding the relationship of technology, art and society and our place within a constructed virtual and physical environment. I try to question our relationship to the undefined, ambiguous and dehumanising space that we inhabit, asking what we consider to be real and the conditions that create this reality. Space for redevelopment is a sprawling rhizomatic structure. It is a transitional section of a larger, unpredictable landscape, devoid of presence, scale or location, referring to both physical and virtual topographies and structures.

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FRANCES AVIVA BLANE

Friend Susie, 2015 Pencil and graphite, 57 x 46cm

Friend Susie is the first of a group of observed drawings made with pencil and graphite. I usually work with charcoal and my subject matter is abstract, so it was a change seeing the cutting line and silvery sheen of pencil rather than smudge of charcoal. More like a razor blade. A sharp edge to tone and define. It was refreshing to focus on someone I was watching, rather than looking inwards. I was reminded of my late life-drawing tutor, Tom Norris, at The Slade saying ‘Don’t draw what you think, draw what you see’.

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HANNAH BLIGHT-ANDERSON

One minute, 2015 Clear perspex and steel plinth, 152 x 28 x 24cm

Can you ever truly see your self? When you look at your reflection, what do you see? What is essential to our being? Art is in the seeing… Our vision is constantly active, reacting to the present surroundings, informing each moment of our lives. We are not static or fixed forms but in constant transit, alongside the world we live in. I am tussling with the components that impact and inform a person, as I endeavour to visually offer the viewer an experience with the phenomenon of being human.

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PIA BRAMLEY

Carmen in the Grass, 2015 Ink on paper, 22 x 27cm Burst into a Juicy Fluff, 2015 Ink on paper, 17 x 22cm Butter Point, 2015 Ink on paper, 17 x 22cm

These blue ink drawings were made using pens, brushes, memory and imagination. From the many small drawings made during this summer these three seemed to share an affinity, though they are not intended as a series. Each drawing seems to be a small part of a bigger thing.

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PETE BURKE

Hackney to Bishopsgate, 2015 Pencil, cardboard and tape on paper, 46 x 36cm

The drawings I’m working on at the moment are a physical realisation of a perception of London held within my memory, embedded through layers of experience and familiarity. They incorporate materials, which convey a sense of their own history whilst relating to my day job as an art courier, and the repeated navigations that work entails. They also act as threads connecting the locations of photographs I have been taking since 2009 of brownfield building site peepholes.

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JOHN CLOSE

Dalston: Battle of the Lapiths and Centaurs, 2015 Charcoal on paper, 155 x 125cm

My inspiration is the Parthenon Metopes at the British Museum, based on a Greek mythological conflict of cultures. This version is in Dalston, my place of birth in the London Borough of Hackney. The process of gentrification has put a new, affluent class amongst struggling local communities – perhaps varying forces have pushed this area of London into its own battle of tribes. I wanted to use drawing to show fighting, as it is experienced in inner city life; the sporadic street violence and pathetic brawling where there is never any triumph of good over bad, no heroic valour, only desperate people trapped in an internecine cycle.

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JULIE COCKBURN

The Mother Ship, 2015 Ink and embroidery on altered found photograph, 20 x 25cm

The Mother Ship is the latest in a series of altered found photographs where I question, play with, and respond to the original image. I am compelled to interrupt the picture plane, stitching, hole punching and making childlike marks onto the flat, photographic finish. I want to get under the skin of these pictures, both metaphorically and physically. The slick surface, however patinated, invites excavation and graffiti. Once I had completed this work, the glasshouse loomed larger, brighter and had more definition than before. It looked like it was about to take off and fly out of the garden; vandalised, fluorescent, modern and full of hope.

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DANIEL CRAWSHAW

Moonshine, 2014 Nail on found object, 41 x 26cm

The idea for this drawing really came out of nowhere. A pan, hanging in my studio for years having survived numerous camping trips and inattentive fry-ups, presented itself as a surface for something else. It’s accumulated scuffs and scratches lured my eye into an imagined space. I usually explore the concept of the ‘sublime’ through painting, asking how is it possible to capture feelings of awe and longing for remote landscapes. On reflection Moonshine is a direct, intimate attempt to connect the mundane material world with a distant, fleeting aspiration.

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GERRY DAVIES

Murmuring Deep, 2015 Ink on paper, 60 x 60cm

Murmuring Deep began as notebook drawings made underground in a cave system in Yorkshire. I’m not a caver and rely on experienced guides to access extraordinary and little known environments. Drawing in the dark, with compromised vision, means employing other senses – particularly touch and temperature. In the studio the challenge is to find graphic equivalents for qualities not easily drawn – the weight of rock and deep time. The methodical process of making the drawing reflects the erosion of limestone (alkali) and its trillions of marine skeletons and the acidic water which continues to carve through it passages and chambers.

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CINZIA DELNEVO

Morning Meditations or Yellow Ball Point Pen on Paper, 2014 Ball point pen on paper, 61 x 61cm

Morning Meditations or Yellow Ball Point Pen on Paper is part of a series of drawings in which the element of repetition is always present. Repetition is also used to relate to automatic writing or automatism. It is utilised extensively on the same drawing; tracing forms composed of minimal abstract units, mantra-like gestures to reach a point of deep dissociation from conscious thought. This process of unfolding is an investigation of drawing without a visual reference as opposed to working from a predetermined composition.

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SAMMY DENT

King and Queen, 2014 Bitumen, whiting and oil bar on plywood, 122 x 82cm

Inspired by Henry Moore’s King and Queen statue seen at Glen Kiln, this drawing came about after a long day in the studio, as a final last breath. Unconsciously drawn, on the found plywood I’d prepared, it was the result of an accumulation of looking, thinking and drawing but without much pre-meditation. The plywood is patinated, and leathery looking just as the statue is weathered in its resting place in the glen.

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EMMA DOUGLAS

Cato Marble Graffiti, 2014/15 Marble, 70 x 90cm

My work is conceptual. I have always been attracted to the graffiti you see carved into park benches, and I always fantasise about the lives of the people who put it there. When my son, Cato, died suddenly at the age of twenty-one, we were building a kitchen for him. This piece of marble was cut out to make room for the stove. The marks on the marble are part of his story, my graffiti about him.

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BRYAN ECCLESHALL

After Joseph Beuys’ ‘Wirtschaftswerte’ (”Economic Values”), 2015 Pencil on paper, 128.5 x 128.5cm

I make drawings of art works by others. This was made after Wirtschaftswerte was shown at the Graves Art Gallery during Art Sheffield 2013. The multi-panel format allowed me to make it at home while half-watching favourite films, or listening to podcasts or the cricket. I saw my first Joseph Beuys – Plight – installed at the Anthony d’Offay gallery in Dering Street in 1985. It had a profound effect on me but when I saw it again at the Centre Pompidou in 2011, I was disappointed that a perspex barrier had been added to keep the public at bay.

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PENNIE ELFICK

Beam, 2015 Paint, graphite, ink, 190 x 20cm

This piece of found wood was the beginning of a dialogue, could the fragility and beauty of the decayed surface be preserved and be the recipient of drawn marks? My drawings are always about how mark making can convey an idea of place or feeling, working directly on to a found object was a new and liberating experience, the complexity of the decayed surface and its relationship to the flatness of the reverse side was paramount, using the fluidity of the ink as a drawing tool seemed to allow the contradictory nature of the surfaces to keep their independence and yet remain connected.

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SUE ENGLAND

The Productivity of Absence (Hairnet), 2015 Pencil and pen, 44 x 54cm

Old age and dementia pre-occupy one half of my work, with particular reference to family members. One in three people in this country will suffer from some sort of dementia. This drawing is one of a series. My family history is closely linked with the Lancashire cotton industry and the ‘thread’ running through all the work, connects that productive Northern work ethic, a ‘make do and mend’ attitude, and the gradual unravelling of a mind and life. This hairnet is worn every night by my Mother, holding in her anxieties, while the connections unwind.

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EXCHANGE + DRAW

Crank Call, 2015 Pencil, mixed media on digital print, 57 x 57cm

“Clov: What is there to keep me here? Hamm: The dialogue”

Samuel Beckett, Endgame Crank Call began as a digital print; uniting four drawings to harness the experiences/ideas from a surplus of unwanted calls. Caller – receiver, speaker? Listener? Like ordinary conversation, drawing conversation transports one in an instant to another world through the dialectics of the encounter. The process sees the manoeuvres of exchange as impetus to stimulate possibilities that might both question and enhance the dynamics of any given drawing engagement. Exchange + Draw are Richard Lloyd and Alan Parsons

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MARK FARHALL

Naturally Slow Buildings (127), 2015 Coloured pen and pencil on paper, 25 x 19cm

I’m very interested in using processes of working that detach me from a conscious action, that allow randomness and mistakes, so that I can produce indirectly what is too obscured to express directly. What grows visually is a record of these individual random convoluted thoughts, ideas, interpretations and how they might be connected. I use various (elaborate and obsessive) techniques when constructing these drawings, juxtapositioning assemblage, pattern making, mirroring, and playing with illusions of three-dimensional surfaces. The processes create improvised drawings that are simultaneously, energetic, harmonious, complex, and naive.

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CRAIG FISHER

Explosion Banner, 2015 Cotton fabric, wool and thread, 145 x 145cm

I collect and employ images of violence and its aftermath from film, TV and the media as source material for the production of works such as Explosion Banner. Considering the potency of such representations and their potential to be subverted, images of explosion clouds become simplified cartoon motifs, exploring the decorative through my use of patterned fabrics. Craft techniques specifically associated with textiles and the seductive nature and materiality of the artwork comments on our seduction and desensitization of violent images.

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NINA MAE FOWLER

Small II, 2014 Pencil on paper, cardborundum, wood, 12 x 25 x 5cm

This freestanding work depicts fourteen year-old Cheryl Crane on the night she killed her mother’s lover. She was subjected to overwhelming media attention, her mother being the actress Lana Turner. The piece, which appears as an ornamental accessory, comprises two drawings. On one side, under the unforgiving glare of flash photography, police question Cheryl. On the other, we see only the back of a head as she is whisked by. The frame – covered in carborundum, typically used for abrasive semi-industrial purposes – is here a metaphor for endurance and conversely something of delicate beauty when spot lit.

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THOMAS GOSEBRUCH

Untitled 2, 2015 Oil paint on paper, 46.5 x 75.5cm

Notes from the underground.

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TOM HARRISON

From Andrew’s Flat, Singapore, 2015 Pencil, 50 x 40cm

During a recent trip to Singapore I was highly stimulated by the lush green jungle offset against the lines of the architecture. My initial pull for the drawing was seeing all of this from an elevated position; an abstract pattern of the buildings jostling for space with the jungle becoming even more apparent. Finding it hard to select a starting point, I just looked. After ten minutes some movement on a balcony to the right alerted me to an interesting combination of pattern, abstract shapes and geometry, which then became my overarching idea.

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ROLAND HICKS

The This And The That, 2015 Pencil, coloured pencil, gouache, PVA on gesso panel, 25 x 20cm

My drawing The This And The That recreates the scattered remains from the bottom of a tipped out pencil case, preserved under a strip of sellotape. I could try and claim some affinity here with 17th century Dutch trompe l’oeil painting, also with Arte Povera and Minimalism. Or, maybe I could mention Post-Duchampian re-made readymades (and it seems I now have done). But perhaps it’s more important to say it is a small, quiet thing, slightly amplified.

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WILLIAM HUGHES

open (one liner), 2015 Graphite on paper, 29 x 21cm

This piece, open (one liner) is taken from an on-going series in which images are appropriated from a variety of sources and rendered against a grey background. Through this consistent method of production each image becomes dislocated from original context, the absence of which is heightened due to the sparse treatment of the subject. Whilst some are chosen arbitrarily and more for their ambiguous potentiality or tendency towards the enigmatic, most are biographical at their core. However in each case, the initial impetus driving the creation of the work dissipates, remaining only as a residual force, if at all.

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JULIA HUTTON

Burning Light IV, The Passing Day, 2014 Burnt line drawing on paper, 52 x 49cm

This drawing is one from an on-going series that started as a direct response to observing the pathway of sunlight through my studio window. Making visible the invisible is ever present in my work. The intimacy and directness of the burnt line acts as a physical record of my observation and experience of the passing of ‘burning light’. The drawing process evolved alongside research into our changing climate and analysing burnt record cards from the Met Office, used to calculate hours of sunshine. Drawing is a central daily practice, forming a bridge to print, photography, painting and bookmaking.

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MEHR JAVED

Shell I, 2014 Perforated paper, 118.5 x 140.5cm

Shell I references a Rorschach-like abstract symmetrical pattern. The paper surface is meticulously perforated by hand to create meandering, intersecting lines and broken flat planes. This process allows the paper to take on a porous, skin-like characteristic, enhancing its associative and tactile qualities. As a result, the viewing experience is immersive, meditative and sensual. In an intimate viewing such as this, eyes begin to act as organs of touch.

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BEN JOHNSON

Alhambra Study (Hall of Two Sisters) Pencil, Rotring ink and ballpoint, 105 x 65cm

In the last few years I have moved away from the traditional drawing board to the use of a computer and technical drawing and CAD programs. I have also spent the last 3 years experimenting on how to output the digital drawing as a more tactile object using conventional materials. A typical preliminary drawing for any painting is now taking approximately 9-12 months and the piece selected is a partial study from a 2-year project.

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ALI KAYLEY

Buen Vencejo, 2015 Charcoal and graphite on paper, 93 x 126cm

When I was living in Los Angeles, migrating swifts would come swooping through the city each autumn, echoing the Pacific coastline as they made their way home to Mexico. These swifts live, eat and couple in the air, barely ceasing their journey until they arrive home, spent. I had been making a piece of work about the routes taken by Mexican migrant labourers, and the parallels between the birds, tiny specks in the sky, and the people on the ground, themselves tiny specks, led to this work, Buen Vencejo – Fair Swift.

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NIGEL KINGSBURY

Untitled, 2014 Pencil on paper, 110 x 90cm

Nigel’s main inspiration is the female form; he draws occasionally from life often from memory. This is one of Nigel’s memory drawings. Nigel frequently draws the figure naked first, then adding clothes and folds of fabric with layers of finely sketched lines. This is a unique piece where the figure remains nude.

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LOIS LANGMEAD

Pelvis, 2015 8 spools of thread, 40 x 60cm

Pelvis is a contemporary reaction to the depiction of women’s bodies as ‘weak’ throughout historical medical texts. Despite medical texts being more accurate now, the attitudes surrounding women’s physical abilities remains. The pelvis is a symbol to remind us of the strength of women’s bodies. The process of layering stitching took many days of women’s work; framed, the piece appears is a curious medical specimen that explores parallels between medical nursing and women sewing and repairing. Pelvis explores and questions the archaic representation of women; presenting tension between feminine and private pastimes and the darker, political problems present today.

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GARY LAWRENCE

Santorini Polaroid, 2015 Biro on printing photo type paper, 198 x 213cm

I was given a large roll of shiny photo-like paper, which I put aside to use later. Meanwhile, on holiday on a boat in Greece, I saw someone use a Polaroid Instamatic camera (I thought they were not around anymore). This person’s instant photo was slipped out of his hand by the breeze and it landed by my feet. I noticed the wide white border and shiny surface of the Polaroid photo. This Greek polaroid memory gave me the reason to then use my large roll of paper, to make a large polaroid photo type of drawing (with shiny surface and wide border) using my Greek holiday and travel magazine imagery as subject and inspiration.

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JULIETTE LOSQ

Nexus, 2014 Ink and watercolour on paper, 150 x 131.2cm

I depict liminal landscapes hovering at the edges of a symbolic clearing, where wilderness and chaos oppose civilization and order. I allude to the English ‘Gothic’ of the eighteenth and nineteenth centuries, typified by fragmented narratives relating mysterious incidents, and scenes charged with a real or imagined menace. Working over the surface repetitively, I create multiple layers, which simultaneously obscure and reveal those beneath, incorporating imagery derived from various sources including Victorian newspaper illustrations and horror films. In this series of works rococo imagery infiltrates the landscape, so that the eye hovers between stylised natural forms and realistically rendered ones, and is confronted both by the excess of nature and the excesses of these forms.

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GRACE MCMURRAY

Cutcomb Polaroid, 2015 Coloured pencil on graph paper and pins, 61.5 x 51.5cm

I created a geometric digital pattern based on a hive, referencing a personal utopia.

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WILLIAM MACKRELL

Back of Agnese’s Head, 2015 Drawing on digital print, 130 x 100cm

Back of Agnese’s Head presents an ant’s size view of being in the back of someone’s hair. This work is from an on-going series of portraits of the top, back and sides of people’s heads. The interest lies in documenting this part of the body that cannot be seen directly by the Self. The work begins as a photographic image, shot close up and larger than life, after which I take a needle and scratch out each individual hair. The act of cutting into hair pays attention to hair’s fragile and shifting nature, a part of us that can be quickly lost.

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SEAN MALTBY

Cleaning Up, 2014 Video, duration 1min 6sec (still illustrated)

The video piece Cleaning Up was made during a six-month artists residency at the Verein in Akku Künstler Atelier Uster in Switzerland. Like many of my video works it is a direct and visceral response to the place, objects and materials at hand. It turned out, like many of my videos to be a piece of drawing work. As a single line was raked across three types of terrain it simultaneously dredged up a number of art historical references.

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ANOUK MERCIER

Route des Lindarets – Une Cascade, 2015 Graphite on paper, 60 x 50cm

Route des Lindarets – Une Cascade is a detailed graphite drawing informed by the artist’s extensive collection of early postcards and photographs of classic Alpine scenes. Presenting an elusive beauty spot and waterfall, this work is from an on-going series exploring traditional, idealised representations of Nature, as celebrated by late 19th/early 20th century tourists and audiences. Influenced by Romanticism and the Sublime, the melancholic scene echoes a timeless yearning for escapism through the portrayal of a beautiful ideal, whilst also teasing out and questioning the mysterious, the abysmal and the uncanny that often lurk behind idylls.

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MARY MILLNER

View from Tate Modern, 2015 Pencil and coloured pencil on paper, 34.4 x 34.2cm

A drawing of a dream.

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JOONHONG MIN

City Methodologies, 2014 Ball point pen on paper, 21 x 29.7cm

Ink pen set free on a piece of paper, I have had a habit of drawing non-existing space since I was a child. Images of a city expressed onto a flat surface created illusion, a virtual space and the objects within that satisfied both the visual and tactile senses. The origin of this contentment came from having accomplished representing such construction that absorbed my reverence on a relatively small picture building occupying our city do not merely serve as residential or commercial purpose but a gigantic space made by ourselves worthy of praise.

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PAUL PEDEN

Drawing 309, 2015 Sumi ink, marker pen and pencil, 30 x 21cm

This drawing forms part of an on-going series of works on paper, each one explores a simple structure as a basis for pictorial invention. The work is built using deliberately basic components and follows a particular compositional impulse. Whilst enjoying the straightforward nature of their manufacture, the evolutionary process allows for and often actively encourages improvisation. I relish emergent complexities and the potential to discover and create unforeseen forms and readings through such modest and immediate means.

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LEE JOHN PHILLIPS

The Shed Project: Volume 1, 2014-15 Ink in sketchbook, 29.7 x 21cm

I am in the process of creating an illustrated inventory of the entire contents of my late grandfather’s tool shed. I will draw and number every single item, including all multiples, and reference them in a catalogue upon completion. As well as an exercise of discipline, the sketchbooks will exist as a record of my own cultural and industrial heritage, reflecting on a social ethos I feel is being sadly eroded. To date I have illustrated over 4,000 items – I estimate the total content to be over 80,000.

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RUTH PHILO

Darker Part of the Weather I, 2014 Acrylic, gesso, graphite on linen, 25 x 30cm

This is one of a series of pieces concerning weather, both physically and emotionally. A sensate experience conveyed through elements of abstraction – colour, surface and mark, using paint, gesso and graphite. Erasing boundaries between painting and drawing, this draws on elements of uncertainty, time and place, the seen and the unconscious, condensed into an intimate canvas.

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GIULIA RICCI

Order/Disruption no.71, 2014 Indian Ink brush pen on paper, 43 x 44cm

Order/Disruption no.71 is part of a series of drawings exploring disruptions within patterns composed of right-angled triangles. I started this series of works in 2010 and each piece is characterised by the fact that it can be seen from close up and from a distance, providing two diverse kinds of experiences with different tactile and spatial implications.

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ANNETTE ROBINSON

Musical Box (1), 2015 Clay, emulsion and pencil, 48 x 45.5cm

Someone recently called me a private flamboyant. At the heart of all the work I make is a tension between quiet gesture and bold movement. This drawing sits amongst the quiet gestures whilst, being part of a body of work that reflects an on-going interest in the dynamics between the mechanical and the freely formed.

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JENNY ROSS

The Code of Bones, 2014 Graphite on paper, 45.5 x 45cm

As a life model, I experience the setup from a unique perspective: from within, as a dynamic part of it. Being invited to draw whilst being drawn by others provided an opportunity to explore this. My writing often informs my work and my thoughts. When creating images, I examine aspects of the narratives that I create.

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GABRIELA SCHUTZ

Blog, 2015 Acrylic and watercolour on paper, 91 x 75cm (detail illustrated)

I’m fascinated, and at times apprehensive, with the way technology, information, communication and consumerism are increasingly shaping our lives. In Blog I was working strictly from observation and on location, afterwards sharing each ‘post’ on Facebook to be ‘liked’. Thus I created a pictorial diary where not only the successful drawings remain – unlike social media where we try to project the most favourable images of ourselves. Engaging in the act of drawing seems more important than ever in these fast moving times which are dominated by an impatient continuum of information.

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SARAH SEYMOUR

Impending: storm clouds, 2015 Charcoal, pastel, carborundum, 75 x 95cm

This piece has a figurative and an emotional source. The starting point is the Romney Marsh area and Dungeness, where I live, with its sometimes bleak but always inspirational dramatic skies. Through depicting the dark and ominous clouds I want to convey a personal response to a pervasive unease to situations outside my control. The textures are symbolic of the complexity of the turbulence and confusion I feel.

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CALLY SHADBOLT

Press Mould, 2015 Graphite and varnish on card, 32 x 24cm

Press Mould is one of a series of moulds, which have been made for relief casting in plaster and for embossing paper. The graphite pencil marks remain visible as part of the drawing and development prior to construction of the mould. The varnish is a practical measure against damp or other substances that may damage the card during the pressing process. Using a tinted glaze allows the amount being applied to vulnerable edges to be gauged. The object depicted is imaginary. Its form continues to evolve over time.

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SOHEILA SOKHANVARI

Two serious ladies, 2015 Egg tempera on calf vellum, 43 x 32cm

Two serious ladies is based on a 1953 photograph marking the presence of American expatriates in Iran, the year of the US assisted coup d’état in Iran. The work deals with ideas of fascism, concepts of “anaesthetized aesthetics” and “phantasmagoria” that aestheticizes society through art, architecture and political manoeuvres creating an illusory world without pain and producing an alienation of senses. Subjects become cool detached observers who are pinned down like butterflies by their overburdening background symbolically criticizing the structures of society by dispassionately and uncompromisingly depicting every detail of the subjects and their surroundings, and by revealing the distance and emptiness between them.

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CHARLOTTE STEEL

Poison Tree, 2014 Charcoal and chalk, 35 x 29cm

I am interested in how pictures, feelings and stories relate to one another. Here the Poison Tree is destroying its own creator (unlike Blake’s poem, where his rival eats the poisoned fruit). The sentiment is, I think the same.

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HANNA TEN DOORNKAAT

Me (self portrait) I, 2015 Pencil on tracing paper, 89 x 64cm

The drill drawings combine concept and experimental process. The ‘Me‘ self portraits are contemplative and the process of drawing on transparent paper feels like inscribing or tattooing life’s experience into skin.

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JOHN THOLE

You CHEAT, 2015 Ink, graphite, envelope, bag, card, 31.8 x 48.6cm

In creating an image I treat the composition as a system – a body in which individual parts lend themselves to a much larger whole. Textures and forms are often reminiscent of the body, and are a way of making the interior the exterior, each part being connected. Figures, too, often operate in a similar way, becoming part of the compositional structure or of each other within a theatrical space. You CHEAT uses these elements and also highlights its own materials, their former functions and history of usage.

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CAROLINE TRUSS

Family, 2015 Ink on board, 30.5 x 40cm

The drawing is my interaction with the subject. First my eye is drawn to an image, secondly an idea of empathy to the image, then my imagination responds to my idea. I am sharing what I feel the image is saying. When I look back at a drawing, I feel it can mean anything or is simply a drawing.

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ALAN TURNBULL

Self Portrait as Anna Akhmatova, 2014 Graphite, 43 x 48cm

This picture was one of a number of works resulting from an archival study of translations of Akhmatova’s poems into English. During this time I became particularly interested in her Poem Without a Hero and the importance she placed on the mirror and on the observation of the self.

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RONIS VARLAAM

Custard Creams, 2014 Conte, 50 x 48cm

Custard Creams is a drawing that perhaps belongs to a number of works I have made examining the phenomenon of pareidolia. There is also a song I have written to go with it: “ Give me a French kiss in the back seat of your car. Take my pants off and hang them

from the aerial. But don’t forget to get the tea, the milk and the custard creams…”

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ROSIE VOHRA

A Part of me, Apart from me, 2014 Charcoal on paper, 85 x 74cm

There is a welcome tension between drawing from my imagination and observation. My Mind has nestled itself into what I am looking at, sitting next to my Sight reminding me that it is there. They both spend so much time together that they start to blur into one being. A Part of me, Apart from me took place in a life drawing studio, after a full day of drawing from observation, my imagination leaked out on to the paper and the link between my mind and hand matted together.

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ROY WILLINGHAM

Grid-Schema-Nebbia, 2015 Gouache, collage and silverpoint on board, 25 x 31cm

Grid-Schema-Nebbia is about place; the space, the flatness of the paper against the depth of perspective, ways of describing without perspective, combining different views together. It wants to be classical and modern at the same time. It is about the contrasting qualities of the materials; the delicacy of the silverpoint and the flatness of the gouache, the way they lie over and disappear under and even deceive by illusion. It is the balance of heavy shapes and soft lines, how to draw the eye around the rectangle and how to achieve a satisfying overall harmony – and still be a place.

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MARTHA ZMPOUNOU

Performance Line, 2015 Watercolour and pencil on paper, 55 x 75cm

Performance Line belongs to a series of drawings depicting human figures caught amidst a performed act, an undefined thus ambiguous ritual. The drawing acts as a recording device of the ritual, which is a drawing in space itself. The architecture, a confined space, increases the awareness of the bodily moves and partly dictates the movement. The thread, a key element, is a line in space and embodies the problem and its very solution. It draws from the myth of Ariadne, where the thread becomes the path to an end. In a confining space, like a labyrinth, the thread-line becomes the progress, a metaphor for the very nature of the drawing process.

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ELISA ALALUUSUA (b. 1970 Rovaniemi, Finland) studied MA Art as Environment at Manchester Metropolitan University (1994-95) and completed her second MA at University of Lapland (1999). She is currently conducting part-time PhD research at University of the Arts London on Sketchbooks. Selected group shows include: POOL, CGP London (2015); The Fire Sermon with Dale Inglis, the blackShed Gallery, Robertsbridge (2014); Driven to Draw: Twentieth-Century Drawings and Sketchbooks from the Royal Academy’s Collection at the Royal Academy of Arts, London (2011/12). Selected solo shows include: Sketching Sketchbooks, Westminster School, London (2014); 24h DRAWING IV – 22nd to 23rd Oct 2013, Horace Mann, New York (2013); 24h DRAWING II – 29th to 30th Nov 2012, Pullens Yards, London (2012). She lives and works in London but regularly visits the reindeer farm in Lapland where she grew up.

IAN ANDREWS (b. 1959 Tilbury, UK) studied MA Painting, Royal College of Art (1985). Collaborations: Babelling: The Art of Rat Catching, ARTicle Gallery, Birmingham City University (2013); Babelling, Sluice Art Fair, London (2013); Coughing Fit, collaboration with Paul Newman, part of the exhibition Going Postal, ITV Building Birmingham (2012). Group exhibitions include: Game Over, Newman Bros, Coffin Works, Birmingham, (2015); Jerwood Drawing Prize, London (2014). Solo exhibitions include: Rummage out, find by violence searching, Terrace Gallery, Birmingham (2012). Recent Events include: 15 Methods: 20 Questions, interview, publication and presentation regarding the role of drawing in Art Education (Group Presentation), London (2013) Q-Art/Higher Education Academy. He divides his time between Essex and the West Midlands.

ROBERT BATTAMS (b. 1981 Perth, Western Australia) studied BA Fine Art Sculpture at University of the Arts London (2003-06). He was shortlisted for the Royal Academy Summer Show (2015) and Jerwood Drawing Prize (2011). He has produced work for Vanity Fair (2011) and his work Grid featured on the Jerwood Visual Arts programme of events (2012). He lives and works in Sheffield.

FRANCES AVIVA BLANE (b. 1954, London, UK) studied at Chelsea College of Art (1987), BA Byam Shaw School of Art (1988-91) and MFA Slade School of Fine Art UCL (1991-93). Group Shows include: Drawing Breath, Jerwood Anniversary Exhibition, London, Singapore, Sydney and touring (2008/9); Annely Juda, A Celebration, Annely Juda Fine Art, London (2007); Basil Beattie and Frances Aviva Blane – Drawing, ECart, London (2001). Solo Shows include: BIG BLACK PAINTINGS, Bay Hall, London (2014); Deconstruct, exhibition running concurrently with shows by Louise Bourgeois and Francis Bacon, De Queeste Kunstkamers Abele/Watou, Belgium (2014); Portrait Painting, ShillamSmith3, London (2006). Awards include: Mid-America ART Alliance Fellowship for Visual Arts (1998); Residency at Djerrassi Artists’ Foundation, California (1998); Jerwood Award for Drawing (1999). She lives and works in London.

HANNAH BLIGHT ANDERSON (b. 1992 Truro, UK) studied BA Fine Art at Bath School of Art & Design, Bath Spa University (2012-15). Selected group exhibitions include: Free Range, The Old Truman Brewery, London (2015); A Portrait of the Artist As, Elysium Gallery, Swansea (2014); Platform 14, The Engine Shed, Bristol (2014). Solo exhibitions

ARTISTS’ BIOGRAPHIES

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include Who am I, Balcony Space, Bath (2014). Recent prizes include: The Kenneth Armitage Foundation Student Sculpture Prize (2015); Highly Commended, Beep International Painting Prize (2014); Highly commended, Victoria Art Gallery, Bath Summer Show (2014). She lives and works in Bath and Bristol.

PIA BRAMLEY (b.1986) studied BA Illustration, University of Brighton (2007-09) and Postgraduate Program at The Royal Drawing School (2014). Selected exhibitions include: The Drawing Year, Royal Drawing School, London (2014); Verso, Tea Building, London (2014); ‘then, now, after…’ 150 years of art and illustration, Brighton University (2013). Editorial: The Sunday Times (2015); New York Times (2010-2014) and The Plant Journal (2013). Publishing: The Unicycle Set, Nick Burbridge, Waterloo Press (2010). Product: Anthropologie design for ceramics (2012); PUBLICATIONS: Freehand, Helen Birch, Hardie Grant Books (2013); Varoom Magazine, Association of Illustrators (2012); Synonym Journal (2012). She is currently a tutor for the Royal Drawing Clubs at Whitechapel Gallery and visiting tutor for Kingston University Art Foundation. She lives and works in London.

PETE BURKE (b. 1958 Padstow, UK) studied BA Fine Art, Loughborough College of Art and Design (1976-79). Selected exhibitions include; National Open Art Competition, RCA, London (2013); Artists’ Eye, Hackney Museum, London (2012); Royal Academy Summer Exhibition, London (2012). Solo exhibitions include: Glimpsing The Future: Connecting Communities, Dalston Eastern Curve Garden, CLR James Library and The Clapton Hart, London (as part of Photomonth 2015). Collections: Birmingham Museum and Art Gallery; Hackney Archives. He lives and works in London.

JOHN CLOSE (b. 1979 London, UK) studied BA Fine Art at Middlesex University (1999–2003). Selected group exhibitions include: Tutors Exhibition, Hampstead School of Art, London (2014, 2015); Paintformance, The Place, London Contemporary Dance School (2013); 400 Women, London, Edinburgh, Amsterdam (2010-2012). In conjunction with Cubitt and St Luke’s Trust, he has been a community artist in residence in Islington, London since 2012.

JULIE COCKBURN (b. 1966 London, UK) studied Sculpture at Central Saint Martins College of Art and Design, London (1993-96). Group shows include: FOUND, New Art Gallery, Walsall (2015); Threads (Draadkracht), Museum of Modern Art, Arnhem, NL (2014); Riff/Rift, Baltic39, Newcastle (2013). Solo shows include: Waiting Room, Flowers East, London (2014); Slight Exposure, Yossi Milo Gallery, New York (2013); Portraits and Landscapes, Flowers Central, London (2012). She lives and works in London.

DANIEL CRAWSHAW (b.1967 Herefordshire, UK) studied BA Fine Art (Painting) at Leicester Polytechnic (1987-90). Selected group exhibitions include: Summer Shows, Martin Tinney Gallery, Cardiff/Oriel Tegfryn, Menai Bridge (2015); The National Eisteddfod of Wales, (2012, 2010, 2009, 2004 – Peoples Choice Winner); Creekside Open, APT, London (2011); Asylum Open, Asylum, London (2011); The Salon Art Prize, Matt Roberts Arts, London (2010). Selected solo exhibitions include: High Country Gothic, The Western Plains Cultural Centre, NSW, Australia (2014-2015); The Gippsland Art Gallery, Bayside Arts, Melbourne, Australia; High Country Gothic, Oriel Myrddin Carmarthen, The Sidney Nolan Trust, Powys (2014); Resort, The Guardian Hay Festival, Wales (2007); Lost Mountains, Rebecca Hossack Gallery, London (2005). Residencies: Arts Council of Wales, Snowdonia National Park, Wales and Alpine National Park, Australia (2012); Artist in Residence at the Sidney Nolan Trust (2006). He lives and works in Wales and London.

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GERRY DAVIES (b. 1957 Pontypool, Wales) studied BA Fine Art at Wolverhampton Polytechnic (1977–80); MA Painting at the Royal College of Art, London (1981-84). Selected groups exhibitions include: Paper, Table, Wall and After, curated by Sian Bowen and Chris Dorsett, Gallery North, University of Northumbria (2014); The Moment of Privacy Has Passed, an exhibition of the sketchbooks of contemporary designers, architects and artists, Usher Gallery, Lincoln (2011); Contemporary Drawings, Recent Acquisitions, Leighton Room, Victoria & Albert Museum, London (2009). Solo exhibition: Jenolan Caves, was the outcome of a residency at The Study Centre for Drawing at The National Art School, Sydney, Australia (2010). Awards: Artist in Residence at Durham Cathedral (1978-88) and a Fulbright scholar at Perdue University, Indiana, USA (1990-91). He lives and works in Lancaster.

CINZIA DELNEVO (b. 1982 San Secondo Parmense, Italy) studied BA Fine Art at Accademia di Belle Arti, Bologna, Italy (2001-07) and MA in Planning and Production of Visual Arts, Faculty of Arts and Design: IUAV – University of Venice, Italy (2008-10). Selected groups exhibitions include: Disseminazione, Casabianca, Zola Predosa, Italy (2015); “Passato Prossimo” Art in the age of post-tradition, Rocca Estense, XXXII Roncaglia Biennal, San Felice sul Panaro, Italy (2012); Here we are | Il luogo è sempre specifico, Contemporary Art Pavilion, Ferrara, Italy (2010). Solo exhibitions include: Legami Deboli (Weak Ties), Amedeo Abello & Cinzia Delnevo, Galleria Cinica, Palazzo Lucarini, Trevi, Italy (2013/2014); Dodici (Twelve), Esperienze non lineari del tempo (Non linear experiences of time), Museum House of Ludovico Ariosto, Ferrara, Italy (2011). She lives and works in London.

SAMMY DENT (b. Perth, Scotland. 1967) studied BA (Hons) Fine Art, St Martins School of Art (1996-99), Art Students League, New York (1994). Group shows include: Summer Exhibition, Royal Academy, (2007, 2010); National Open

Art Competition (2012). Solo shows include: Public Library, Port Washington, NY (2003); Flowers, Statues and Bison, Dover St Gallery (2012); Billiard Room, Chelsea Arts Club, London (2013).

EMMA DOUGLAS (b. 1956 London) studied MA Printmaking, Royal College of Art, London (1980-83), École des Arts Decoratifs, Paris (1979-80) and BA Fine Art, Middlesex Polytechnic (1976-79). Selected exhibitions: Small is Beautiful, Flowers Gallery, New York (2014); Jerwood Drawing Prize (2013); Whitechapel Open, Whitechapel Gallery, London (1989); Printmakers at the Royal College of Art, Barbican Art Gallery, London (1985); Hayward Annual, Hayward Gallery, London (1982). She was a Prizewinner at Mulhouse Biennale, Alsace, France (1984). She lives and works in London.

BRYAN ECCLESHALL (b. 1965 Bishop’s Castle, UK) studied BA Fine Art at Leicester Polytechnic (1985-88), MA Fine Art at Sheffield Hallam University (2008-10) where he is currently researching a PhD. Selected group exhibitions: art:language:location, Cambridge; London (2013); Tegel: Flights of Fancy, Babylon Kino, Berlin (2012); M3-M6 Unterwegs, touring Lancaster, Preston Berlin (2009). Solo exhibitions: 365drawings, Bank Street Arts, Sheffield (2014); and Baker’s Dozen, NEO’s Gallery, Cockermouth (2007). He lives in Worksop and works in Sheffield.

PENNIE ELFICK (b.1948 Carshalton, UK) studied BA (Hons) Fine Art, London Guildhall University (1993-96) and MA Painting, Wimbledon School of Art (1999-2000). Selected group exhibitions include: The Open West, The Wilson, Cheltenham (2014); Annual Open, RWA, Bristol (2014); The Still Point, Quercus Gallery, Bath (2015). Solo shows: Contemplative Spaces, Musgrove Gallery Taunton (2014); Pennie Elfick, Acanthus Gallery, Wareham (2015). Residencies: Cill Rialaig, Ballinskelligs, Co Cork (2001); Brisons Veor Cape Cornwall, Cornwall (2013). She lives and works in Somerset.

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SUE ENGLAND (b. 1947 Lancashire, UK) studied Diploma in Art and Design, Manchester College of Art and Design (1965-69), Art Teaching Diploma, Reading University (1969-70). Group Exhibitions include: Sussex Artists, Pallant House Gallery, Chichester (2011/2012); Ruth Borchard, Kings Place Gallery, London (2013); Society of Women Artists, Mall Galleries, London (2013). Solo Exhibitions include: Two Approaches, Studio, Pallant House Gallery (2014); Here and There, Oxmarket Arts Centre, Chichester (2011); Nepal, Royal Geographic Society, London (2015). Recent Awards/Commendations: Winner EAC Abstract Prize (2012); Highly Commended and Second Prize Sussex Artists; Winner Stride Open, Abstract Prize (2012). She lives and works in Chichester.

EXCHANGE + DRAW is the collaboration of Richard Lloyd and Alan Parsons. Richard Lloyd (b. 1960, Birmingham, UK) studied BA (Hons) Fine Art, Bath Academy of Art (1980-83) and MA Painting, Chelsea School of Art (1983-84); Awarded Richard Boise Traveling Scholarship (1985) Germany/Switzerland. Alan Parsons (b. 1961, Luton, UK) studied BA (Hons) Fine Art Painting, Norwich School of Art (1980-83) and MA Education at the Open University (2001). Travelling Scholarship, Cyprus College of Art (1983). Exchange + Draw was co-formed in 2009-10: Group exhibitions include: Drawing Open, Salisbury Arts Centre, Salisbury (2013); Bridges, Fold Gallery/Curio Cabal, London (2012); As Yet Untitled?, South Bank Arts Centre, Bedford (2011). Solo exhibition, Talking Heads, Animal Studios, Bedford (2015). Both currently live and work in Bedfordshire.

MARK FARHALL (b. 1968 Crawley, UK) studied BA Illustration at the University of Middlesex (1994-97) and MA Illustration at Central St Martins College of Art and Design (1999-01). Exhibitions include: 2013 Project. Drawings, Hanover Project UCL, Preston (2013); International Drawing Project, PR1 Gallery, UCL, Preston (2012). He lives and works in London

CRAIG FISHER (b. 1976 Johannesburg, South Africa) studied BA Fine Art at Northumbria University (1996–99) and MA Fine Art at Goldsmiths College, University of London (1999-2000). Selected groups exhibitions include: Stand In, Small Collections Room, Nottingham Contemporary, Nottingham (2015); Art Across The City 2014, LOCWS International, National Waterfront Museum, Swansea (2014); UNITEXT, 9th Kaunas Art Biennial, Kaunas, Lithuania (2013). Solo exhibitions include: Homemade Devices, Beach Gallery, London (2013); Pretty Disastrous, James Freeman Gallery, London (2012); Reckless Behaviour, TAP Temporary Arts Project, Southend-on-Sea (2011). Recent prizes include: Nottingham Castle Open 2014 Purchase Prize, (2014). He lives and works in Nottingham.

NINA MAE FOWLER (b. 1981 London, UK) studied BA Fine Art (Sculpture) at University of Brighton (2000–03). Selected groups exhibitions include: Artists of the Colony Room (1948- 2008), England & Co, London (2014); Starke Frauen, Neuer Kunstverein Aschaffenburg, Germany (2013); Face Value, Contemporary by Angela Li, Hong Kong (2012). Solo exhibitions include: The Lure of Collapse, Galerie Dukan, Leipzig (2014); That’s Right Mister and How’s Your Fairytale Coming Along? The Cob Gallery, London (2013); It’s Just My Funny Way of Dancing: Parts I-XIII, Lazarides, London (2011). Recent prize shortlists include: The Young Masters Prize (2012); Jerwood Drawing Prize (2010) and The BP Portrait Prize (2008). She lives and works in Norfolk.

THOMAS GOSEBRUCH (b. 1951 Munich, Germany). Studied Painting at the Hochschule fuer Bildende Kunste, Hamburg (1976-79), MA Printmaking at Hochschule fuer Bildende Kunste, Braunschweig, (1980-81), Painting at the Royal College of Art (1984-85) and Ceramics Diploma at City Lit (1999-2001). Group exhibitions include: The 1st International Biennale of the Arts, Santorini, (2012); Jerwood Drawing Prize (2010, 2011, 2012 ); Wall Contemporary Art, London (2009); Eagle Gallery, Emma Hill Fine Art (1990). Solo exhibitions:

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Galerie Kleindienst, Leipzig (2004, 1999); Allgemeiner Konsumverein, Braunschweig (2003); Christopher Hull Gallery, London (1997). Collections: The British Museum, The Victoria and Albert Museum and several German museums. He currently lives and works in London.

TOM HARRISON (b.1982 Bath, UK) is currently studying at The Royal Drawing School (2015-onwards). Lives and works in London.

ROLAND HICKS (b. 1967 Aldershot, UK) studied BA Fine Art, Winchester School of Art (1987-90) and MFA Fine Art, Slade School of Art (1994-96). Selected group exhibitions include: One Giant Leap: Works from the Saatchi Gallery, The Churchill Hyatt Regency, London (2012); Volta, Basel, (2011); BlowUp: New Painting and Photoreality, St Pauls Gallery, Birmingham (2004). Solo exhibitions include: The Gathering Things, Eleven Fine Art, London, (2013); Give Me Every Little Thing, Oriel Davies, Newtown touring to Ffotogallery, Cardiff, (2007); Nothing Can Stop Us Now, Hiscox Art Projects, London (2003). His work has featured in the John Moores Painting Prize (2008/9), the Threadneedle Art Prize (2009 & 2010) and the NatWest Art Prize (1999). He lives and works in London.

WILLIAM HUGHES (b. 1991 London, UK) studied BA Fine Art at Manchester Metropolitan University (2011-14). Selected groups exhibitions include: The Other Side of the Door is Red, TAGallery, Manchester (2015); Saltaire Arts Trail, Bradford (2015); Inosculation, Manchester (2013). Recent prizes include: Melbourne Festival Emerging Talent Award, First Prize (2014). He lives and works in Manchester.

JULIA HUTTON (b.1954 London, UK) studied BA Fine Art at UCA, Canterbury (1996-2000) and MA Printmaking, Royal College of Art, London (2001-03). Recent selected group exhibitions include: Drawn, Drawing Biannual, RWA Bristol (2015); RA Summer Exhibition, Royal Academy, London

(2011, 2014); Threadneedle Prize, London (2012); Drawing the Visual Representation of Thought, Second Thoughts, Russell Coates Gallery, Bournemouth (2014); The Study Gallery of Modern Art, Poole (2008). Awards: Julian Trevelyan Memorial Award, Mall Galleries (2005); Augustus Martin Printmaking Prize RCA (2003); Tom Bendham Drawing Prize, RCA (2003). Collection: Royal College of Art Archives holds a selection of etchings and book works. She lives and works in Dorset.

MEHR JAVED (b. 1983 Lahore, Pakistan) studied BFA Visual Arts, Beaconhouse National University, Lahore (2007) and MFA Fine Art, University of New South Wales, Sydney (2012). Selected groups exhibitions include: Recent Acquisitions, Blacktown City Collection, The Blacktown Arts Center, Sydney (2014); Some Other Place, The Blacktown Arts Center, Sydney (2013); Indivisibilities, Rohtas II Gallery, Lahore (2011). Solo exhibitions, The Replenishing Zero, COFAspace Gallery, Sydney (2012). Recent prizes include: Recipient of the ArtStart Grant, Australia Council for the Arts (2015); The Blacktown City Art Prize (finalist), Sydney (2012); Hobart Drawing Prize (finalist), Tasmanian Museum and Art Gallery, Tasmania (2011). She lives and works in Newcastle-upon-Tyne.

BEN JOHNSON (b. 1946 Llandudno, Wales) studied at Wrexham and Chester Art Schools (1961-65) and MA Royal College of Art (1965-69). Selected group exhibitions include: the travelling exhibition Photorealism, Kunsthalle, Tübingen, Germany; Museo Thyssen-Bornemisza, Madrid, Spain; Saarland Museum, Germany; Birmingham Museum & Art Gallery, UK; Museo de Bellas Artes, Bilbao, Spain; Art Museum of Estonia, Tallinn; Musée d’Ixelles, Brussels; Osthaus Museum Hagen, Germany (2012-17); Photorealism: The Sydney and Walda Besthoff Collection, New Orleans Museum of Art, USA (2014-15); Beyond Reality, British Painting Today, Galerie Rudolfinum, Prague (2012). Selected solo exhibitions include: Spirit of Place – Ben Johnson Paintings 1969 to the Present, Southampton City Art Gallery, UK (2015-16);

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Time Past Time Present, Alan Cristea Gallery, London (2014); Modern Perspectives, National Gallery, London (2010-11). Recent prizes include: Visitors’ Choice Award at The Threadneedle Prize Figurative Art Today (2014). He is an Honorary Fellow of the Royal Institute of British Architects. He lives and works in London.

ALI KAYLEY (b. 1967 Manchester, UK) studied BA Fine Art, Goldsmiths College, University of London (1987-90) and MA Anthropology of Media, School of Oriental and African Studies, University of London (1999-2001). Recent solo exhibitions include: From Purgatory to Paradise: Nude in Road, INDEX Gallery, Stroud (2014); From Purgatory to Paradise: an Indulgence, Brunel Goods Shed, Site Festival, Stroud (2013); Conquistador, Steve Turner Contemporary, Los Angeles, California (2011). She lives and works in Stroud.

NIGEL KINGSBURY (b. 1949 London, UK). Group Exhibitions: Studio Voltaire members show, Studio Voltaire, London (2015); The Inner Self: Drawings from the Subconscious, CGP, London (2014); Outside In: National Exhibition, Pallant House Gallery, Chichester (2013-12). Solo Exhibitions: Nigel Kingsbury: Nigel Loves, Julian Hartnoll Gallery, London (2014); Nigel Kingsbury: Loves Nigel, Pallant House Gallery, Chichester (2014). Awards: The Inner Self: Drawings from the Subconscious, winner (2014); Outside In, National Winner (2012). Collections: Pallant House Gallery and the Museum of Everything. He works at the Action Space studio in Studio Voltaire, London.

LOIS LANGMEAD (b. 1991 Burlington, Canada) studied at Glasgow School of Art (2011-15). Group exhibitions included: Assembly, Blackall Studios, London (2015); Assembly, Reid Building, Glasgow (2015). She grew up in Leicestershire and now lives and works in Glasgow.

GARY LAWRENCE (b. 1959 Essex, UK) studied BA Fine Art at Portsmouth Polytechnic (1978-81); MA Fine Art at

Eastern Illinois University, USA (1981-82) and MFA Fine Art at Southern Illinois University (1990-92). Selected groups exhibitions include: Lynn Painter Stainers Prize, London (2015); Beecroft Gallery, Southend (2013); ING Discerning Eye, London (2012); Jerwood Drawing Prize (2011, 2013); Eastern Open, Kings Lynn (2010, 2014); Kettles Yard Open, Cambridge (2006, 1999); Hunting Art Prize, Royal College of Art, London (2002); Pacesetters, Peterborough (1997); Here and Now, Colchester (1988); Camden Annual, London (1984, 1986); Summer Exhibition, Royal Academy of Art, London (1984). Solo exhibitions include: Beecroft Gallery, Southend (2013); Christopher Stokes Gallery, Chicago (1996); Artemisia Gallery, Chicago (1991). Recent prizes include: Special Commendation, Jerwood Drawing Prize (2013); First Prize, Jerwood Drawing Prize (2011) and the Pollock Krasner Foundation, Major Award (2001). He lives and works in Essex.

JULIETTE LOSQ (b. 1978 London, UK) studied BA (Hons) Fine Art, Wimbledon College of Art (2004-07); Postgraduate Diploma in Fine Art, Royal Academy Schools (2007-10); BA (Hons) History of Art, Newnham College, Cambridge (1997-2000) and MA History of Art, Courtauld Institute (2000-01). Selected groups exhibitions include: Complicit, Coates and Scarry, Gallery 8, London (2015); Ghosts, The Fine Art Society Contemporary, London (2015); What Marcel Duchamp Taught Me, The Fine Art Society Contemporary, London (2014). Solo exhibitions include: Nemora, The Fine Art Society Contemporary, London (2014); Dans la poussière de cette planète, Galerie Arcturus, Paris (2013); Lucaria, Theodore Art, New York (2012). Recent prizes include: Windsor and Newton Painting Prize, Griffin Gallery Open (2015); John Moores Painting Prize, Finalist and Visitor’s Choice Award (2014); Catlin Art Prize, Shortlisted Artist (2012). She was winner of the Jerwood Drawing Prize (2005). She lives and works in London.

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GRACE MCMURRAY (b. 1985 Rathfriland, Northern Ireland) studied BA (Hons) Fine Art Sculpture (First Class), Wimbledon College of Art (2005-08). Selected Group Exhibitions include: The Reverberatory, QSS Bedford Street Belfast (2013); Synthetic Aesthetics, Leitrim Sculpture Centre, Manorhamilton (2012); Watershed, Hong Kong Visual Arts Centre, Hong Kong (2010). Recent Awards include: David Todd/Landmark Fine Art Prize, Second Prize (2008). She lives and works in Belfast.

WILLIAM MACKRELL (b. 1983 London, UK) studied BA Fine Art, Chelsea College of Art (2002-05) and is currently studying MFA Fine Art, Goldsmiths College (2014-16). Selected Group exhibitions include: PerFORMa, FOLD Gallery, London (2015); Drawing Room Biennial, Drawing Room, London (2015); Infinite Jest, Dundee Contemporary Arts, Scotland (2012). Solo exhibitions include: Touch & Go, William Benington Gallery, London (2015); Steam Horses, The Ryder, London (2015); Lullaby, Andipa Gallery, London (2013). Recent prizes include: Sculpture Shock Award (2015) and International Emerging Artist Award Finalist (2014). He lives and works in London.

SEAN MALTBY (b. 1961 Luton, UK) studied BA Fine Art, University of Plymouth (2007-10) and MFA in Fine Art, Newcastle University (2010-12). Selected group exhibitions include: Drei Tage – Drei Kunstler, Winikon Switzerland (2014); Field Broadcast, Institute of Contemporary Art (ICA) London, and Festival Gallery Riga (Latvia) and Baltic 39 Newcastle upon Tyne (2011); Jerwood Drawing Prize, London (2009). Solo exhibitions include: Over the Hills & Far Away, Akku Kunstkiste, Uster Switzerland (2014); Aktionen in Uster (video screening), Turbinen Halle, Im Lot, Uster Switzerland (2014). Awards & Prizes include; Award from the Oppenheim-John Downes Memorial Trust (2013) and the Natalie Sitar Memorial Prize, University of Plymouth (2010). He works in Hackney, London.

ANOUK MERCIER (b. 1984 Paris, France) studied Classical Drawing, Beaux Arts, Paris (2002-03) and BA Fine Art & Visual Culture, University of the West of England (2005-08). Selected group exhibitions include: The Tragedy of Landscape, Antlers Gallery, London (2015); City Lives, Bristol City Museum & Art Gallery, Bristol (2013); Last Day, Cartel, London (2012). Solo exhibitions include: Excursus, Antlers Gallery, Bristol (2012); Paysages Fantastiques et autres dessins, Galerie de Clamecy, France (2011). Recent awards include: Contemporary Artists Explore Printmaking Bursary, supported by the Arts Council England; Double Elephant Print Workshop, Exeter (2013); ART Magazine Emerging Artist Award, RWA 159th Autumn Exhibition (2011). She lives and works in Bristol.

MARY MILLNER (b. 1960 London, UK) studied City & Guilds of London School of Art and The Royal Drawing School ‘Drawing Year’ (2004). Selected group exhibitions include: Discerning Eye (2006); The Big Draw: Self-Portrait Drawing Show, Chapel Row Gallery, Bath (2010); Drawn to the Line, Piers Feetham (2007). Residencies: Artist in Residence at City of London School (2011-12); Dumfries House, Scotland (2014). Self curated exhibitions: Thamescapes (2012, with Phoebe Cope); Legend (2015, with Daisy Millner). Public collections: Science Museum, Eton College, and Hatfield House. Awards: Winner of the RDS/Watercolours & Works on Paper Drawing Competition at the Science Museum (2011). She lives and works in South London.

JOONHONG MIN (b. 1984 Seoul, South Korea) studied BA Fine Art, Seoul National University (2004-10); MA Fine Art at Seoul National University (2010-12); MFA Fine Art, The Slade School of Fine Art, University College London (2014-16). Selected group exhibitions: New York Art Show, Gallery Shinhan, New York (2012); Forging the public memory through the dissolution, Gallery Unofficial Preview, Seoul (2012). Solo & duo exhibitions: Formative Dialectic, Gallery Onground, Seoul (2014); Working

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Condition, Gallery Woosuk, Seoul (2012); Working Condition, Gallery C-Cloud, Seoul (2012). Awards: Leonora Carrington Scholarship, The Slade School of Fine Art, University College London (2014); Preview Award, Degree Show of Seoul National University College of Fine Art, Museum of Art, Seoul National University, Seoul (2013); Selection Award, New York Art Show, Gallery Shinhan, New York (2012). He lives and works in London.

PAUL PEDEN (b. 1970 Liverpool, UK) studied BA Fine Art, University of Northumbria (1995–98) and MA Fine Art at Royal Academy Schools (1999–02). Selected group exhibitions include: Creekside Open (selected by Lisa Milroy and Richard Deacon), London (2015). He lives and works in London.

LEE JOHN PHILLIPS (b. 1980 Caerphilly, Wales UK) studied BA General Illustration, Swansea Institute of Higher Education (1998–2001); MA Visual Communication, Swansea Institute of Higher Education (2001-2003) and PGCE Art and Design, Swansea Institute of Higher Education (2005-2006). Selected groups exhibitions include: Welsh Artist of the Year, St. David’s Hall, Cardiff (2011); Sir Kyffin Williams Drawing Prize, Oriel Ynys Mon Gallery, Anglesey (2012); Sir Kyffin Williams Drawing Prize, Oriel Ynys Mon Gallery, Anglesey (2015). Solo exhibitions include: Oriel Q Gallery, Pembrokeshire (2011); St. David’s Hall, Cardiff (2012); The Last Gallery, Llangadog (2012). He lives and works in Wales.

RUTH PHILO (b. 1957, Spalding, UK) studied BA History of Art, University of Warwick (1975-78) and MA Fine Art, Norwich University of the Arts (2009-11). Selected group exhibitions include: Contemporary British Painting: The Priseman Seabrook Collection, Huddersfield Art Gallery, Huddersfield (2014); This Year’s Model, Studio 1.1, London (2015); Royal Academy Summer Exhibition (2015). Solo exhibition, Another Shade of Green, Benham Gallery, Colchester (2014). She lives and works in Suffolk and Essex.

GIULIA RICCI (b. 1976, Bagnacavallo, Italy) studied BA Fine Art, Accademia di Belle Arti, Bologna, Italy (1995-99); BA Visual Arts, University of Bologna (1996-2003); MFA, The Slade School of Fine Art, UCL (2005-07). Selected group exhibitions include: Wunderkammer, Bartha Contemporary, London (2014); Eccentrico Musivo, MAR, Contemporary Art Museum of Ravenna, Italy (2014); The Edge of Painting, Piper Gallery, London (2013). Solo exhibitions and commissions include: The Grammar of Orientation, commissioned by Modus Operandi on behalf of Crown Estate, Air Street, London (2015); The Grammar of Order (with Tom Hopkins), The Tetley, Leeds (2014); Connecting Threads, The Estorick Collection, London (2010). She lives and works in London.

ANNETTE ROBINSON studied BA Fine Art, Gloucestershire College of Art in Cheltenham and MA Fine Art Sculpture, Royal College of Art, London. Selected Group exhibitions include: IdeasFromElse(W)here, Winns Gallery, London (2014); Farringdon factory, London (2013); Messen, Alvik, Norway (2008); East International, Norwich (1996). Solo Exhibitions include: Acts ReActs, Solo event, residency outcome, Wimbledon Space (2014); Going Nowhere and Building, Ravenscroft Studio, Photomonth, London (2012); Transformer, Uppsala Art Museum, Sweden (2000). Awards: European Pepiniere, Grenoble, France (1991); British Council Sculpture Fellowship, Oslo, Norway (1989-90). Annette is Senior Lecturer on the BA Drawing Course at Camberwell College of Arts, University of the Arts London. She lives and works in London.

JENNY ROSS (b. 1989 Aberdeen, Scotland) studied BA Veterinary Medicine & Surgery, University of Glasgow (2007-13). Exhibitions include: North East Open Studios Exhibition, Turriff, Aberdeenshire (2015); ArtAboyne Annual Exhibition, Aboyne, Aberdeenshire (2015); The Sunday Times Watercolour Competition, Mall Galleries, London (2015); The Royal Scottish Society of Painters in Watercolour 134th Annual Exhibition (2015); North East Open Studios Exhibition, Kinellar, Aberdeen

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(2014, 2010); Aberdeen Artists’ Society Annual Exhibition, Aberdeen Art Gallery (2009, 2006). She lives and works in Aberdeen, Scotland.

GABRIELA SCHUTZ (b. 1971 Tel Aviv, Israel) studied BA Fine Art, Bezalel College of Art and Design (1992–96). Selected group exhibitions include: This is Home, Dialogue exhibition, Geffrye Museum, London (2015); Enclosure, Danielle Arnaud Gallery, London (2014); Transpositions, Petach Tikva Museum (2005). Solo exhibitions include: Ein Harod Museum, Ein Harod, Israel (2013); Platform Gallery, London (2005); Artist Association, (2003). She was shortlisted for the Neo:Print Prize (2014); and Jerwood Drawing Prize (2004, 2005). She lives and works in London.

SARAH SEYMOUR: (b. 1962 Aden, Yemen) studied BA Crafts: Combined Studies, Crewe & Alsager College (1982-85) and MSc Conservation Biology, Manchester Metropolitan University (1996-97). She became a full-time practicing artist in 2014, having had a varied career: including conservation, in particular with primates. Exhibitions: Sarah Seymour with Kaija Bulbrook, Smallhythe Studio Gallery (2015); New Road Artists, Rye Creative Centre Gallery (2014); New Road Artists: ‘4x4’ Group exhibition, Rye Creative Centre Gallery (2014). She lives and works in Kent.

CALLY SHADBOLT (b. 1959 Windsor, UK) studied BA (Hons) Fine Art, Buckinghamshire New University (2008-13). Selected group exhibitions: MK Calling, Milton Keynes Gallery, (2015); House on Fire, Embassy Tea Gallery, London (2014); SNOOP, Building 118 Asylum Studios, Rendlesham, Suffolk (2013). Solo exhibitions: Small Exposure, Spare Room show, High Wycombe (2014); Milton Keynes Gallery Project Space, Showcase (2012/2013). She was awarded the Royal Society of British Artists Award at the British School at Rome (2009). She lives and works in High Wycombe.

SOHEILA SOKHANVARI (b. Shiraz, Iran) studied BA Fine Art and Art History, University of Anglia Ruskin (2001-05), Postgraduate Diploma in Fine Art, Chelsea College of Art & Design (2006) and MFA Fine Art at Goldsmiths College, University of London (2009-11). Selected group exhibitions include: Champagne Life, Saatchi Gallery, London (forthcoming, November 2015); Tectonic, The Moving Museum, Dubai (2013); exTRAct, GL Strand, Copenhagen (2012). Solo exhibitions include: Boogie Wonderland, Kristin Hjellegjerde gallery, London (forthcoming, October 2015); The Story Teller, La Scatola gallery, London (2011). She was recently shortlisted for Catlin Art Prize (2012); Future Can Wait (2013) and Young Gods (2011). She lives and works in London and Cambridge.

CHARLOTTE STEEL (b. 1965 London, UK) studied Royal Academy Schools (1984-7) and Chelsea School of Art (1983-4). Selected Group exhibitions include: Enjoy Democracy Responsibly, Formans Smokehouse Gallery (2011); ING Discerning Eye (2005,2006, 2009, 2010, 2011); Jerwood Drawing Prize (2008); BP Portrait Award, London (2005). She lives and works in London.

HANNA TEN DOORNKAAT (b. 1949 Heidelberg, Germany) studied BA Sculpture, Kingston University (1995-98) and MA Fine Art at Wimbledon School of Art (2000-02). Selected group exhibitions include: Rebecca Hossack Gallery, London (2014); Gallery 8, Sydney (2014); Nassau 42, Antwerp, Belgium (2015). Solo exhibitions: Cable Street Gallery, London (1999); Raum2, Mannheim, Germany (2002). She was shortlisted for National Open (2011, 2014), and was awarded the Cork Street Open Drawing Prize (2011). She lives and works in Kingston upon Thames.

JOHN THOLE (b. 1978) studied BA Media Production & Photography at De Montfort University, Oxford and Cherwell Valley College (2006) and MA Fine Art (Painting) at the Royal College of Art, London (2014). Selected Exhibitions: Bloomberg New

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Contemporaries, World Museum, Liverpool touring to the Institute of Contemporary Art (ICA) London, Newlyn Gallery and The Exchange, Penzance, Cornwall (2014-15); A New Circle, Forbidden City Gallery, Shanghai, China (2014); Show RCA, Royal College of Art, London (2014). He lives and works in London.

ANNETTE TRUSS (b.1954 London, UK) studied BA Fine Art Wimbledon College of Art, University of the Arts London (2006-12) and MA Fine Art at Bath School of Art & Design, Bath Spa University (2013-15). Selected Group Exhibitions: Students work, Deutsche Bank (2008); Reveal, Guerilla Galleries, London (2013); Art and Protest, Guerilla Galleries, London (2013). She lives and works in Bath and London.

ALAN TURNBULL (b. 1954 County Durham, UK) studied BA Fine Art at University of Newcastle (1973-76), and MA Painting, Chelsea School of Art (1976-77). Solo exhibitions include: The Translated Image, Pázmány University, Budapest (2013); The Dresden Archive Project, The German Historical Institute, London (2012-13); The Poet in Exile, Vladimir Nabokov Museum, St Petersburg (2009). He lives and works in North Yorkshire.

RONIS VARLAAM (b. 1946 Nicosia, Cyprus) studied MA Filmmaking, London Film School (1968-70). Selected group exhibitions include: Proect Berlin, Factory-Art Gallery (2014); Creekside Open, APT Gallery, London (2011); Social cinema, The Residence Gallery (2011). Solo exhibitions: Alsager Gallery, Manchester Metropolitan University (2003); Kirkby Gallery (1999). She lives and works in London.

ROSIE VOHRA (b.1992 Hertfordshire, UK) studied BA (Hons) Fine Art at Leeds College of Art (2010-13) and MA Drawing at The Royal Drawing School (2013-14). Selected group exhibitions include: Forever Say, Forever Always, Gage Gallery, Sheffield (2015); Verso, The Tea Building, London (2014); Hand in Hand, Leeds

College of Art Gallery (2014). Upcoming solo exhibition: Sir Denis Mahon Award Exhibition at The Royal Drawing School (2016). Awards: Leeds Student Exhibition Award, Leeds College of Art (2010-13); Sir Denis Mahon Award, The Royal Drawing School (2015/16). She lives and works in Leeds.

ROY WILLINGHAM RE (b. 1957 Southampton, UK) studied BA Fine Art, Central School of Art & Design, London (1976-79). Selected exhibitions include: 12 Contemporary British Printmakers, Karelian Republic Art Museum (1994); 1+1+1, De Ploeg Gallery, Gröningen, Holland (2002); Wrexham Print International (2013). Recent Prizes include ‘Best Tiramisu made by an Englishman’, 2nd Prize (2015). He lives and works in London.

MARTHA ZMPOUNOU (b. 1978 Thessaloniki, Greece) studied BA Fine Art and MA Painting, Aristotle University of Fine Arts, Greece (1998–2003); MA Illustration, Central Saint Martins College of Art and Design, University of the Arts London (2009-11). Selected groups exhibitions include: The Threadneedle Prize, Mall Galleries, London (2012); Discerning Eye, Mall Galleries London (2011); Royal Society of Portrait Painters Annual Exhibition, Mall Galleries, London (2011). Solo exhibitions include: Zina Athanasiadou Gallery, Greece (2015); Young Artists, Zina Athanassiadou Gallery, Greece (2009). Recent prizes include: EWAAC award for the best drawing (2015), Secret Art Prize (shortlisted) (2014), The De Laszlo Foundation Award (2011). She is an Associate Lecturer at University of the Arts London and lives and works in London.

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1994Selectors: Graham Crowley, Anthony Green RA, Estelle ThompsonAward Winners: Sharon Beavan (Rexel Derwent Prize) Louise Cattrell (Cheltenham Prize) Ken Lowe (Student Prize) Gerry Davies (Highly Commended) David Oates (Highly Commended) Judith Tucker (Highly Commended) Angela Weyersberg (Highly Commended)

1996Selectors: Peter de Francia, Deanna Petherbridge, Anita TaylorAward Winers: Kenny Lowe (Purchase Prize) Jane Dixon (Prizewinner) Barry Kemp (Prizewinner) Peter John (Prizewinner) David Oates (Prizewinner) Kay Pont (Prizewinner) Irrum Ahmed (Student Prize)

1997Selectors: Timothy Hyman, Felicity Lunn, Nick TiteAward Winners: Rebecca Salter (Major Award) Peter Darach (Award) Caroline Frood (Award) Andrea Mclean (Award) Milda Gudelyte (Student Award) Matthew Watkins (Student Award) Gerry Davies (Commendation) Alison Harper (Commendation) Judy Inglis (Commendation) Yoko Omoni (Commendation) David Prentice (Commendation) Mandy Pritchard (Commendation) Angela Rogers (Commendation)

AWARD WINNERS AND SELECTORS 1994-2014

Jerwood Drawing Prize is an annual exhibition that is open to submission by all artists resident in the UK. It is selected from original art works made since January 2014. The Jerwood Drawing Prize 2015 awards are announced at the Private View at Jerwood Space London, on Tuesday 15 September 2015.

PRIZES

First Prize – £8000 Second Prize – £5000 Two Student Awards – £2000 each

ABOUT JERWOOD DRAWING PRIZE 2015

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1998Selectors: David Alston, Eileen Cooper RA, Nicola ShaneAward Winners: Wynne Jones (Major Award) Michael Grimshaw (Award) Jane Joseph (Award) Joyce Gunn Cairns (Award) Alison Harper (Award) Mia Fernandez (Student award) Mark Harris (Student Award) Jeanette Barnes (Comendation) David Connearn (Commendation) Tam Inglis (Commendation) Sophie Knight (Commendation) Debbie Lee (Student Commendation) Robin Mason (Commendation) Mary Nelson (Commendation) Christopher Nurse (Commendation) Alan Stones (Commendation) Sarah Woodfine (Commendation

1999Selectors: Angela Flowers, Alexander MoffatAward Winners: Anna Mazzotta (Major Award) Frances Aviva Blane (Award) Joanna Greenhill (Award) Anita Taylor (Award) Martina Schmid (Student Award)

2000Selectors: Andrew Brighton, Mel Gooding, Isobel Johnstone,

Doris Lockhart SaatchiAward Winners: David Connearn (Major Award) Jane Harris (Award) Anne Howeson (Award) Lorraine Robbins (Award) Emma Oldridge (Student Award) Nina Troitsky (Student Award)

2001Selectors: Frances Carey, Richard Cork, Angela KingstonAward Winners: Kate Davis (1st Prize) Sian Bowen (2nd Prize) Paul Ryan (3rd Prize) Lisa Cathro (Student Prize) Jen-Wei Kuo (Student Prize)

2002Selectors: Marco Livingstone, Cornelia Parker, Marina WarnerAward Winners: Adam Dant (1st Prize) Ansel Krut (2nd Prize) Jane Harris (3rd Prize) Susan Collis (Student Prize) Chie Konishi (Student Prize)

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2003Selectors: Ken Currie, William Feaver, Anita TaylorAward Winners: Paul Brandford (1st prize) Jeanette Barnes (2nd Prize) Bryan Biggs (3rd Prize) Caroline Edwards (Student Prize) Joshua Thomson (Student Prize)

2004Selectors: Basil Beattie, Mary Doyle, Tony GodfreyAward Winners: Sarah Woodfine (1st Prize) Stephen Walter (2nd Prize) Tom Hammick (3rd Prize) Ailbhe Ni Bhriain (Student Prize) Conrad Frankel (Student Prize)2005Selectors: Stephen Farthing RA, Martin Kemp, Sarah SimbletAward Winners: Juliette Losq (1st Prize) Katie Cuddon (2nd Prize) Amanda Couch (Student Prize) Linda Meakin (Student Prize)

2006Selectors: Jason Brooks, Yvonne Crossley, Paul ThomasAward Winners: Charlotte Hodes (1st prize) James McLellan (2nd Prize) Zoe Anderson (Student Prize) James Wright (Student Prize)

2007Selectors: Paul Bonaventura, Avis Newman, Catherine de ZegherAward Winners: Melanie Jackson (1st Prize) Brighid Lowe (2nd Prize) Minho Kwon (Student Prize) Daisy Richardson (Student Prize)

2008Selectors: Tony Bevan, Emma Dexter, John McDonaldAward Winners: Warren Baldwin (1st prize) Lia Anna Hennig (2nd Prize) Tobias Teschner (Student Prize) Aline von der Assen (Student Prize)

2009Selectors: Tania Kovats, Roger Malbert, Nicholas UsherwoodAward Winners: Mit Senoj (1st prize) George Chapman (2nd Prize) Frances Stacey (Student Prize) Roxanne Goffin (Student Prize)

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2010Selectors: Charles Darwent, Jenni Lomax, Emma TalbotAward Winners: Virginia Verran (1st Prize) Cadi Froehlich (2nd Prize) Warren Andrews (Student Prize) James Eden & Olly Rooks (Student Prize)

2011Selectors: Iwona Blazwick, Tim Marlow, Rachel WhitereadAward Winners: Gary Lawrence (1st Prize) Jessie Brennan (2nd Prize) Nicki Rolls (Student Prize) Kristian Fletcher (Student Prize)

2012Selectors: Stephen Coppel, Kate Macfarlane, Lisa Milroy RAAward Winners: Karolina Glusiec (1st prize) Bada Song (2nd Prize) Katie Agett (Student Prize) Min Kim (Student Prize) Jane Dixon (Highly Commended)

2013Selectors: Kate Brindley, Michael Craig-Martin RA, Charlotte MullinsAward Winners: Svetlana Fialova (1st Prize) Marie von Heyl (2nd Prize) Kristian Fletcher (Student Award) Tamsin Nagel (Student Award) Neville Gabie (Special Commendation) Gary Lawrence (Special Commendation)

2014Selectors: Gavin Delahunty, Janet McKenzie, Alison Wilding RAAward Winners: Alison Carlier (1st Prize) Sigrid Muller (2nd Prize) Ara Choi (Student Prize) Annette Fernando (Student Prize) Sally Taylor (Special Commendation)

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Jerwood Charitable Foundation and the Jerwood Drawing Prize project would like to thank everyone who has contributed to the origination of the Jerwood Drawing Prize 2015 exhibition.

In particular: Project Management and Marketing, Parker Harris Selection Panel Coordinator & Co-founder, Paul Thomas Chief Technician, Marc Thomas Jerwood Visual Arts, Hannah Pierce, Oliver Fuke, Lauren Houlton and James Murison

The 2015 Team of Handlers and Administrators Phoebe Baines, Euan Baker, Holly Beighton, James Collins, Lucy Cox, Jasmir Creed, Gavin Edmonds, Barney Gammond, Fred Hoffman, Alexander Ioannou, Ravina Jassal, Lia Leozappa, Elizabeth Mackintosh, Kieron Marchant, Luke McArthur, Florence Mytum, Charlie Newhouse, Rose Parker, Tara Parmar, Helen Rawlins, Ffion Reed, Tom Savery, Alexandra Stevens, Dimitri Yin

The 2015 Regional Collection Centres, their Representatives and the Transportation Team The staff at Wimbledon College of Art, University of the Arts London; Dan Young, University of Gloucestershire; Catriona Morley, Victoria Rankin, Ailie Ormston, Claire Chalmers, Elle Arscott, Edinburgh College of Art; Carl Rowe, Andrea Girling, Rebecca Kadi, Norwich University of the Arts; Richard Talbot, Sofija Sutton and Helen Shaddock, Newcastle University; Kerry Harker, Ruth Williamson, Hayley Mills-Styles and the team at The Tetley, Leeds; David Tinkham, Selina Ogilvy, Rachelle Aaronson, Clare Thatcher, April George, Victoria Bone, Bath School of Art and Design, Bath Spa University; Hannah Jones, Leah Harris, Julie Ellis, Andy Cluer, Lisa Davidson, Plymouth College of Art; Chris Brown, Megan Winstone, Rebecca Thomas, g39, Cardiff; Doris Rohr, Siobhan McQuade, Joanne Proctor, University of Ulster; Art Moves of Chelsea, Art Works, Irish Art Courier, Picture Post and South Hams Express who all transported work to and from the London collection centre.

The 2015 Tour Partners and their Representatives Cheltenham Art Gallery and Museum: The Wilson Sidney Cooper Gallery Falmouth Art Gallery

For their generous support of the catalogue

ACKNOWLEDGEMENTS