ThinkingthroughDrawing2015

WeAllDraw

68November2015
Bargehouse,OxoTowerWharf,BargehouseStreet,SouthBank,London,SE19PH

WeAllDraw

Contents:

Welcomemessage

Floorplans

Guestpanelists

Timetable

Listofconcurrentworkshops

Fridayactivities

Saturdayactivities

Sundayactivities

2
3
4
5

12

34

CoverimagecourtesyofYoonBahk.

WeAllDraw

WelcometoWEALLDRAW!

Wehaveapackedprogrammeforyouthisyear,with1film,2exhibitions,3masterclasses,5guestperformances
andinterventions,26workshopsandapanelofguestexpertstounpacktheproceedings.Pleasemakesureto
signupeachmorningfortheworkshopsyouwanttoattendtoavoiddisappointmentasplacesineachoneare
limited.
Ourvisionforthesethreedaysisforeverybodytohavetheopportunitytotryneworunexpectedwaysof
drawing.Wehopeyouenjoytheexpansiverangeofpracticesandapproachesonofferandconnectwithmany
colleaguesfromaroundtheworldwhoshareourbeliefintheimportanceofdrawingandvisualisationfor
learning,research,collaboration,wellbeingandcollaborativethinking.Wehopeallofyoufindsomethingyou
cantakeawayanddevelopintoyourownpracticeorteaching.
Weencourageyoutotapeyourdrawingstothewallsduringthesymposium,sothattheyaccumulateoverthe
threedaysandactasacatalystfordiscussionandconnection.Wealsoencourageyoutotakeyourdrawings
homeattheend,aswewillnotbeabletokeepholdofthemafterwards.(Anydrawingsformallysubmittedto
theexhibitionswill,ofcourse,bereturnedtoyouwithduecare.)
Ifyouwish,youcanfollowourtwitter,instagramandfacebookfeedsduringandaftertheevent,whichwillbe
updatedbyourdedicatedsocialmediateam.Pleasefeelfreetocontributeyourphotosandcomments,andto
sharewithotherswhocantmakeit.
WewouldliketoextendspecialthankstoTaniaKovats,KellyChorpeningandErinWeirsmawhohavecuratedthe
twoexhibitionsonshowthisweek,toMalcolmQuinnofCCWGraduateSchool,toSimonBettsofWimbledon
SchoolofArt,toChrisOwenofCambridgeSchoolofArt,toJudyBurtonofTeachersCollegeColumbia,andto
KateMasonandtheCampaignforDrawingteamfortheirendorsementandsupportofouractivitiesthisweek.
Wearealsodeeplygratefultoallofyouwhohavetravelledtheglobe,armedwithpencils,toshareyourideas
andpracticeswithallofus.

MichelleFava,AngelaBrew&AndreaKantrowitz

WeAllDraw

WeAllDraw

OurGuestPanelists:

BarbaraTversky
isaProfessorEmeritaofPsychologyat
StanfordUniversity
andaProfessorofPsychologyand
Educationat
TeachersCollege,ColumbiaUniversity
.Tverskyspecialisesin
cognitivepsychology
.Sheisaleading
authorityintheareasofvisualspatialreasoningandcollaborativecognition.Tversky'sadditionalresearch
interestsincludelanguageandcommunication,comprehensionofeventsandnarratives,andthemappingand
modelingofcognitiveprocesses.BarbarareceivedaB.A.inPsychologyfromthe
UniversityofMichigan
in1963
andaPh.D.inPsychologyfromtheUniversityofMichiganin1969.ShehasservedonthefacultyofStanford
Universitysince1977andofTeachersCollege,ColumbiaUniversitysince2005.ShewasnamedaFellowofthe
AmericanPsychologicalSociety
in1995,the
CognitiveScienceSociety
in2002,andthe
SocietyofExperimental
Psychology
in2004.In1999,shereceivedthe
PhiBetaKappa
ExcellenceinTeachingAward.Tverskyisanactive
andwellregardedteacherofpsychologycoursesatboththeintroductoryandadvancedlevel.Inaddition,
Tverskyhasservedontheeditorialboardsofmultipleprominentacademicjournals,including
Psychological
Research
(19761984),the
JournalofExperimentalPsychology:Learning,MemoryandCognition
(19761982),the
JournalofExperimentalPsychology:General
(19821988),
MemoryandCognition
(19892001),and
Cognitive
Psychology
(19952002).

JudithBurton
isProfessorandDirectorofArtandArtEducation,ColumbiaUniversityTeachersCollege,NYC.
BeforethatshewasChairofArtEducationatBostonUniversityandtaughtattheMassachusettsCollegeofArt.
ShereceivedherEd.D.fromHarvardUniversityin1980.Herresearchfocusesontheartisticaesthetic
developmentofchildrenandadolescentsandtheimplicationsthishasforteachingandlearning.In1995,she
cofoundedtheCenterforResearchinArtsEducationatTeachersCollege,andin1996,shefoundedtheHeritage
Schoolacomprehensivehighschoolfeaturingthearts,locatedinHarlem,NYC.

VinodGoel
originallytrainedasanarchitect.However,unabletodeveloptheskillstosketch,drawandvisualize
inthreedimensions,andmesmerisedbyseveralbooksbyNicholasNegroponte,hesteppedoutsideofthefieldto
tryandfigureouttherelationshipbetweenmindanddesign.HeeventuallyendedupatBerkeleywherehe
studiedphilosophy,computerscience,andpsychologyandcompletedaninterdisciplinaryPh.D.incognitive
science.Vinods1995text
SketchesofThought
challengedcomputationalparadigmsincognitivescienceand
addressedtheindeterminateandnonpropositionalaspectsofourthinking.

WeAllDraw

FRIDAY
10am
12.30

1.15
1.30
3.45
4.30

Registrationopens(lunchwillnotbeprovidedonFriday)

Warmupactivity.ZenofVoicetunein:Apreparationfordrawing,enliveningandhoningthe
sensesthroughthesingingvoicewithStefanCartwright

Welcome

Masterclass:DrawingImprovisationswithAndreaKantrowitz,followedbypaneldiscussion

DrawingtoworkshopwithYoonBahk

PrivateviewandperformancesfromSaranjitBirdiandEricaBohr

SATURDAY

10am
10.30

12.30
2pm
3.30
4pm
5.30
6pm

Registration&signingupforworkshopsandlunchtimediscussiongroups

Masterclass:TheArtofTeachingScienceThroughDrawing,withMerrieKoester,
followedbypaneldiscussion

Lunch(discussiontablesstartat1pm)

Concurrentworkshops

Break

Dropinworkshops

Workshopfeedback

Close

SUNDAY

10am
10.30
12.30
2pm
1.30
4pm
6pm

Registration&signupforafternoonworkshops

Masterclass:DrawingasanactofGenerosity,withKimSloane,followedbypaneldiscussion

Lunch&filmscreening

Concurrentworkshops

Performance:MattFreedman

Finalreflectionsandfeedbackwithpanel

Close

WeAllDraw

SaturdayLunchtimediscussiontables:1pm
Whydopeoplestopdrawing?

CyraLevenson

Observationaldrawinganddyslexia

HowardRiley&QonaRankin

SupportingChildrensdrawingdevelopment

MartaCabral

SaturdayConcurrentworkshops:2pm
AboutLonelinessandcontact

EmmaFlt

MakersofImagery:ExtravagantEdges,LinesandForm

SusanBeniston&CynthiaHellyerHeinz

Dot,Line,Shape,Pattern,Preference,Form

MichaelMoore

Beingpresentinyourownbody

Christian&GroCecileMontarou

MazingtheFaceTracingtheGaze

PamelaLawton

Ariverrunsthroughus

JillJourneaux

AnimatingtheBargehouse

SaraSchneckloth

EmbodiedAnatomyClass

EmilySheehan

DrawingintheFourthSpatialDimension

GemmaAnderson&AlessioCorti

SaturdayDropinsessions:4pm
(noneedtobook)

ExploringtheBargehousethroughdrawingandstitch

RosieJames,MarciaTeusink

HapticDrawing:TheTactileSelfPortrait

MarnaShopoff

ReflectionIn&OnNetworkDrawing

ClaireScanlon,PaulGrivell

MemoryDrawing

MichelleSalamon

VerbalDrawing

JoannaNeil

TheContingentSpace

ThomasAlbrecht

DrawingEnergy

FloraBowden

RulesofDrawing:makingandbreaking

TaniaKovats&herMAstudents

MapDrawing

RobinWhitmore

Hearts,MindsandGuts

AngelaHodgsonTeal

DrawingCirclesmeeting

AngieBrew&GaganSingh

SundayConcurrentworkshops:2pm
(PleasesignuponSundaymorning)

Both/AndDrawing

AngelaRogers&DuncanBullen

Exploringandevaluatingdrawinginthefieldofmedicine

JennyWright&DimitriosPanagiotopoulos

DrawingGym

MichaelNamkung

Collaborative,narrativedrawing

LucyLyons,PatrickLetschka&PhilippaLyon

Play,Chance,andComics

MattFinch

Knucklebones:Theartofmakingyourmark

SuzetteSnyman

NavigatingIrreducibleHumanity(withaPencil)

ThomasBosket

WeAllDraw

Friday1.30pm
Masterclass:DrawingImprovisations,
withAndreaKantrowitz

Inventordiscoversomethingnewthroughthe
processofdrawingitself,somethingneverbefore
seenorimagined.
Createyourowndrawingimprovisations,basedon
researchthatintegratedmethodsandtheoryfromart
andcognitivepsychologytostudythecognitive
interactionsunderlyingcontemporaryartists
improvisationaldrawingpractices.Improvisation,in
music,comedyorinlifecanbeunderstoodasaskillful
responsetounpredictableevents,yetdrawingskillis
oftenregardedastheabilitytoaccuratelytranscribea
knownimageontoaflatsurface.Butartistsand
othersdrawnotonlytotranscribeandcommunicate
animagealreadyfixedintheworldorintheirmind,
butalsotoinventordiscoversomethingnewthrough
theprocessofdrawingitself,somethingneverbefore
seenorimagined.Althoughundoubtedlyintertwined
anditerativeinpractice,thesetwogoals,totranscribe
ortodiscover,canbeseenastheextremesofa
continuum.Thismasterclasswillexplore
transforming2Dforminto3Dformandbackagain,
throughpaperfoldinganddrawingfocusingon
improvisationaldrawingasameansofexploration
anddiscovery.

(
Photographer:TimTiebout,courtesyofthePhiladelphiaMuseumofArt)

AndreaKantrowitz,EdD.,isanartist,researcher,educator,andcodirectoroftheThinkingthroughDrawing
Symposiumseries,whohaslecturedandgivenworkshopsinternationallyonartandcognition.SheholdsaB.Ain
ArtandCognitionfromHarvardUniversityandaMFAinPaintingfromYale,andteachesatTylerSchoolofArt,
TempleUniversity.ShehastaughtdrawingatPrattInstituteinBrooklynandgraduatecoursesincontemporary
artattheCollegeofNewRochelle.ShehasalsobeenateachingartistintheNewYorkCityformanyyears,
involvedinmultiplelocalandnationalresearchprojects.Sherecentlycompletedaninterdisciplinarydoctorateat
TeachersCollegewhichexaminedthecognitiveinteractionsunderlyingcontemporaryartistsdrawingpractices.
HerblogisZyphoid.comandherownartworkisrepresentedbyKeniseBarnesFineArt.

WeAllDraw

Friday3.45pm
Drawingto.....
withYoonBahk

Thisworkshopwillhelpyoudiscoverafewthings:
2.
3.
4.

Yourequitegoodatdrawing.
Youcanusethesedrawingsasatooloraprocessforunderstanding,rememberingandcommunicating.
Whyyoushouldincorporatethesedrawingsaspartofyourworkprocessinwhateveryoudo.

Youwillreceivebasicknowledgeandskillsandmostimportantly,confidencetocapturestories,ideas,systems,
journeysandmoreinavisualformat.

YoonBahkisadesigner
andeducator,basedin
London,whospecialisesin
designthinkingand
thinkingthroughdrawing.
SheisaSeniortutorand
programmeleaderinthe
InnovationDesign
EngineeringMasters
CourseattheRoyalCollege
ofArt.Thinkingthrough
drawingisattheheartof
herdesignandinnovation
processandoutsideof
academiasheconsultsa
widevarietyofclients
usingdrawingtofacilitate
theprocess.

WeAllDraw

4.30pmFriday
WelcomeeventandPrivateView:
WeALLDraw@UAL,curatedbyTaniaKovats&KellyChorpening
WEALLDraw:ThinkingDrawings,openexhibitioncuratedbyErinWiersma

WeAllDraw@UALincludesdrawingsfromstudentsandstaff
andrecentalumniacrossUALcampuses,
whowereinvitedto
submitonedrawingeachtoshowcasethescope,diversityand
depthofdrawingacrosstheuniversity.Wearedelightedwith
theresponsetothecallandthebreadthofthesubmissions,
fromacrosscolleges,courses,departments,andincluding
stafffromcollegeshops,aswellastechnicians.Weare
particularlyinterestedinworkingdrawings,thathelpusto
thinkandtofigurethingsout.Weencouragedpeopletosend
drawingsmadeinsketchbooksorstudioasapartof
preliminaryworkingprocesses,aswellasfinisheddrawings.
Theselectedworksincludeeverythingfromspontaneous
drawingsonthebackofenvelopestosustaineddrawingson
traditionaldrawingpapers.

WeALLDraw:ThinkingDrawingsincludes
drawingssubmittedbypost,fromartists
andthinkersinternationally.Theyoffer
examplesofdrawingasatoolforthought.
Thedrawingsdisplayedareresponsesto
thequestions(raisedatourprevious
symposia):
Whendosurgeonsusedrawing?
Howdoscienceteachersusedrawing?
Whydoestheengineerusedrawing?
Howcandrawingbeusedasasocial
practice?Wheredoartistsdraw?
Doesdrawingfacilitatedialogue?
Couldadrawingresolveadispute?
Doesdrawingpromotewellbeing?
Canadrawingsing?

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WeAllDraw

Fridayevening

performance:Feetfacefeet,withSaranjitBirdi

Usinghisfeet,inastandingposture,theartistwillbesketchingthefeetandfacesofdelegatesattheTTDevent.
Thedelegateswillbeallowedtophotographorvideothework,andabletoobserveandtalkwiththeartist
duringandafterthedrawingsession.

SaranjitBirdidiscoveredhisabilitytodraw
accuratelywithvariouspartsofhisbody,which
hebelievesstemfromhisconditioningasa
dancerandmartialartstraining.Henow
exploreshumanevolutionandcognition
throughhisdrawingpractice.Saranjithasused
drawinginrehabilitationforsurvivorsof
braindamageandalsopresentedhisdrawing
practicetotheschoolsofBioscienceand
PsychologyatUniversityofBirmingham,
collaboratinginsubjectsincludingcognitionand
muscleplasticity.

http://www.axisweb.org/p/saranjitbirdi/

https://vimeo.com/user3460668

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WeAllDraw

Fridayeveningperformance:TotembyEricaBohr
ThefemalehyenaformsacentralmotifthatrecursthroughouttheSouthAfricanbornartist'spractice.Thehyena
performsashamanicfunction,andalsoexistsasametaphorforfemalewarriorresistancetoPatriarchy.In
panAfricanmythologiesthefemalehyenaisregardedasapotenttalismanofevil:ashapeshifting,soulstealing
interloperandsuccubus.
In'Totem',2015,Ericarecountsthestoryofherencounterwithhyenas,andherdreamdrawingofoneofthem
thatresultedinthestatusof'Umthagathi'(malewizard)beingconferredonherbylocalpeople,whowitnessed
thedrawing.ShewillattempttorecreatethedreamdrawinginthesandoftheThamesatlowtide,oronan
urbanconcretesurface,asthetraceofatraceofapastexperienceintheTropicofCapricorninSouthernAfrica
manyyearsago.Afollowupperformancewillrecreatethispalimpsestdeepinalargeindigenousforestin
PotsdamMittelmarkinruralGermany,hometoalocalwolfpopulation.

EricaBhr'smultimedia,interdisciplinaryfineartpracticeisconcernedprimarilywithidentitypolitics.Her
practicecritiquesthesocialconstructionofgenderandhowgenderisperformedinapatriarchalmatrix,where
womenarebornintotheinsubordinatesexclass.Herpracticeisunapologeticallypoliticalandencompassestext,
performance,drawingandinstallation.Ericagraduatedin2011fromCambridgeSchoolofArtandcurrentlylives
andworksinBerlin.
ericabohr.tumblr.com
virgindyke.blogspot.com
ericabohr@me.com

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WeAllDraw

SaturdayMasterclass:TheArtofTeachingSciencethroughDrawing:
TheScienceandArtoftheKnobbedWhelkandTheEutrophicationBlues
WithMerrieKoester

ThispresentationoffersamodelforteachingscienceasaestheticinquirythroughthecreationofKnowtations,
singlepagevisualexplanatorymodels,whichintegratethewords,images,symbolsandactionsofsituated,
contextual,5Escienceinquiry.TheformandfunctionoftheKnowtationvarieswiththestageofinquiry
Engage,Explore,Explain,Extend,orEvaluate.PleasejoinDr.Koesterfortwoperformances:TheScienceandArt
oftheKnobbedWhelkandTheEutrophicationBlues.

MerrieKoester,Ph.D.,isaU.S.scienceeducator,artsbasededucationalresearcher,painterandauthorofthe
AgnesPflummscienceeducationnovels,implementedbyU.S.teachersnationwide.Shepresentlyservesasthe
directorof
ProjectDrawforScience
,anactionresearchinitiativeattheUniversityofSouthCarolina.Anativeof
Charleston,SC,andaPhiBetaKappagraduateofFurmanUniversity,Dr.Koesterfirstbegandeveloping
curriculumforteachingsciencethroughtheartsaspartofhermastersresearchattheUniversityofHawaiiin
1990.Sincethattime,shehasworkedtirelesslytofacilitateprofessionaldevelopmentworkshopsonteaching
sciencethroughthearts,speakingatdistrict,state,andnationallevelscienceeducationconferencesthroughout
theU.S.AkeyfeatureofDr.Koesterscurriculumisthedeepeningofsciencepedagogicalcontentknowledge
throughthepracticeofwhatshecallsperformativenarrativedrawingandthecreationofgraphicKnowtations.
Inhermostrecentresearchandpublication,ScienceTeachersWhoDraw:TheRedIsAlwaysThere(availableat
theWeAllDrawsymposium),Dr.Koesternarratescasestudiesoffivescienceteachers,andoffersarationalefor
usingdrawingastheprimarylanguageandamediumofcognitionforstudentswhoarestrugglingreaders,atany
gradelevel.
www.agnespflumm.com
http://merriekoester.wix.com/projectdfs
https://www.facebook.com/scienceteacherswhodraw

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WeAllDraw

SaturdayLunchtimeDiscussionGroups(pleasesignupinthemorning)

Whywestopdrawing,withCyraLevenson

Mostchildrendrawspontaneously,whetheritsonapieceofpaper,onachalkboard,orinthedirt.Drawingisan
ancientandfundamentalhumantoolforcommunicating.However,manyadultsfeelthattheycantdraw,some
evenfeardrawing.Whydoesthisshiftoccur?Whatcontributingfactorsexist?Howmightweshifttheperception
ofdrawingasanexpertdisciplinetoonethatanyonecanuse?

CyraLevensonisCuratorofEducationattheYaleCenterforBritishArt,lecturerintheAmericanStudiesatYale
UniversityandonfacultyatParisCollegeofArt.ShehasworkedcloselywithfacultyandK12educators
throughouthertenureandbelievesstronglyincollaborationbetweenmuseumsandclassrooms.Research
interestsincludecreativityandcognition,visualliteracyandcriticalpedagogy.Publicationsinclude,Seeing,
Connecting,Writing:DevelopingCreativityandNarrativeWritinginChildrenin
HandbookofWriting,
RepresentingSlavery:UnderservedQuestionsinMuseumCollections

in
StudiesinArtEducation,
andthe
forthcomingBustofaMan:theMatterofaNeoclassicalBlackIconin
BritishArtStudies
.Cyrawasalsothe
cocuratoroftheexhibition,
FiguresofEmpire
:Slavery
andPortraitureinEighteenthCenturyAtlanticBritain.

Observationaldrawinganddyslexia,withHowardRileyandQonaRankin

Thisworkshopwillfacilitatediscussionaboutstrategiesfortheteachingofobservationaldrawingingeneral,but
specificallytoinvitethesharingofexperiencesaboutprovisionforstudentswhoaredyslexicand/ordyspraxic.
ThesessionincludesashortvideoofrecentdrawingworkshopswithdyslexicstudentsattheRCA.

QonaRankinistheDyslexiaCoordinatorattheRoyalCollegeofArt.Initiallyadesigner,in1997sheretrainedin
DyslexiaSupport.In2004,discussionswithstudentsregardingtheirperceivedinabilitytodrawwellledtoher
formingaresearchcollaborationwithcolleaguesattheSwanseaCollegeofArt,MiddlesexUniversityand
UniversityCollegeLondon.In2008,QonasetuptheCreativeMentorsFoundationwhichshenowruns.Shealso
continuestodesignandmakejewellery.

ProfessorHowardRileystudiedattheHammersmithCollegeofArt,CoventryCollegeofArt,andtheRoyal
CollegeofArt.HeholdsadoctorateoftheUniversityofWalesinthepracticeandpedagogyofdrawing.Hehas
publishedintheareasofdrawingpedagogy,visualsemiotics,andmostrecently,collaborativeresearchintothe
relationshipsbetweendyslexiaanddrawingabilitywithcolleaguesQonaRankinRCA,ChrisMcManusUCL,Nicky
Brunswick,Middlesex,andBeckyChamberlain,UniversityofLeuven.Riley'sdrawingshavebeenexhibitedin
Australia,Malaysia,Finland,theUSAandtheUK.

Supportingchildrensdrawingdevelopment,withMartaCabral

Thediscoveriesofmarkmakingarecrucialforearlyartisticdevelopment.Theexplorationofphysicalmotions
andthediscoveryofthemarkstheymake,isanearlysteptomakingsenseoftheworldthroughdrawing.Young
childrendrawwhattheyexperienceandanexploratoryapproachtoartcanhelpthemunderstandtheworld
throughtheirexperienceswithmaterials.Thisinformaldiscussionwilladdressaspectsofsupportingyoung
childrenintheirexperimentationandexplorationsindrawing.
MartaCabralisacuratorofartworks,artisticexperiences,andplay.Sheworkswithpeopleofallagesexploring
artmaterialsandideasinsettingsrangingfromstudiostoclassrooms,galleries,universities,conferencerooms,
andbeyond.MartateachesgraduatelevelcoursesinArtEducationandsupervisesstudentteachersatColumbia
University'sTeachersCollege.Asanartistinresidenceandresearchfellow,sherunsColumbiaUniversity'sRita
GoldEarlyChildhoodCenter'sartprogramforinfants,toddlers,andpreschoolers.BasedoutofBrooklyn,NY,she
createsandstrengthensartprogramsandeventsaroundtheworld.

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WeAllDraw

Saturday,2pm,Concurrentworkshop:
Aboutlonelinessandcontact,
withEmmaFlt

Thisworkshopusesgroupdrawingtostudytheconceptofloneliness.Theprojectstartedwithagroupofyoung
peopleinNorthernSavonia,Finland.Fltisdoinggroupdrawingsindifferentplacestostudythethemesof
lonelinessandcontactwiththeworldandourwaysofmappingandunderstandingthelivedenvironments
withoutnecessitytousewordsorevenlook.ForFlttheessenceofunderstandingislisteningandfindingyour
ownvoiceviathat.
Workhasbeengoingonnowfor2yearsandisdoneincollaborationwithTheRegionalDanceCenterofEastern
Finland(ITAK)andsupportedbyArtsPromotionCentreFinlandandTheFinnishCulturalFoundation.

Fltisfocusingonmarvellingattheworldthroughdrawingandperformanceart.Importantthemesinherwork
aremovement,improvisationandtogetherness.Fltsworktakesacomprehensivelookatdrawingasaliveact,
aninstrumentofcommunicationandameanstocollaborativelyexploreourexperienceoftheworldaroundus.
EmmaFltisbasedinKuopio,Finland
http://emmafalt.wordpress.com/
http://vallpiga.wordpress.com/

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WeAllDraw

Saturday,2pm,Concurrentworkshop:
MakersofImagery:ExtravagantEdges,LinesandForm,withSusanBeniston
&CindyHellyerHeinz

Howdoestheexperienceofmarkmakingalterthewaywecomprehendspace?
Howdoesformimpactinteraction,useandconstructionofobjects,spaceandinfinitedirection?
Howcanweanimatethestaticnatureofformwiththerecognitionthatinrealityeverythingisinflux?
Thisparticipatoryworkshopwillventureintodrawingasatransformativepracticefrommark
makingand
rhythmsonpaper,extendedintothree
dimensionalformsinspace.Itwillalsoincludethedimensionoftimeand
motion.Drawingasanenactedpractice,parallelshowweexperiencelifeandinteractionswithinourperceived
context.Linebecomesform,formbecomesmovement,allbecomecultivatedbytheobstaclesthatmakeus
adaptandexpandorreflectandconsider.
Ourinterestisinfacilitatingchangethroughcreativesocialpractices,whichareengagedthroughmaterialsand
processes.Wewillexplorethinkingthroughmaterials,lettingthemediuminfluenceandmediateanintuitive
rangeofvisualexperience.Theinitialpracticewillbeginwithelicitingspontaneousdrawnresponses,andthen
identifygraphicconnectionsthroughsmalldyadic/triadicgroups.Toconnectrelationally,wewilllinkparticipants
inoverallshiftsthroughmaterials,inaprocessthatinvolvesco
creatinglargescale,collaborativedrawingsand
embodiedforms.

SusanBenistonisanartist,educatorandregisteredarttherapistwhoteacheswithintheFacultyofAnimation,
ArtsandDesignatSheridanCollegeinOntario,Canada.SheisafacultypeercoachinSheridansCentrefor
TeachingandLearning,anhonoursgraduateoftheVancouverSchoolofArtandhasanMFAfromtheUniversity
ofWaterloo.Althoughherideasareexpressedsculpturally,Susansresearchhasbeenrealizedthrough
interdisciplinarycollaborationswithartists,choreographers,andcomposers.Someworks,suchasIntoLimbofor
theTorontoSculptureGardenhavebeendesignedasoutdoorinstallations.Susanhasanextensiveexhibition
historyandiscomfortablecrossingdisciplinesandboundariesinartpracticesthatleadtoprogressivewellbeing.
CindyHellyerHeinzistheFoundationsCoordinatoratNorthernIllinoisUniversity.Sheisanactiveartistand
illustrator.Herdrawingshavebeenexhibitedinmuseumsandgalleries,andfeaturedinbooksandjournals.Her
imagerydescribesthehumanagingprocess,parallelingnaturescyclesofregeneration.Cindyisacommittedand
passionatearteducator,workingwithbothFoundationsstudentsandfacultytooffertheoptimallearning
experienceinthefirstyear.ParticipationwithIntegrativeTeachingInternational,theorganizationthatcreated
tenyearsofThinkTanks,whichfocusesoncorelearninginart,haspropelledthedevelopmentofaseriesof
drawingworkshopswhicharetargetedtowardteachingideageneration,processandskilldevelopment.
SusanandCindyscollaborationisbasedontheirextensiveinvolvementswithFATE:FoundationsinArt:Theory
andEducationFacilitatingExcellenceinArtFoundations
http://www.foundationsart.org/whichalsooffersIntegrativeTeachingInternationalandThinkTankCatalysts
http://integrativeteaching.org/

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WeAllDraw

Saturday,2pm,Concurrentworkshop:
Dot,Line,Shape,Pattern,Preference,Form,withMichaelMoore

Adrawingbecomesvitalandaliveasitevolvesfromitsoriginaldottothelines,shapes,andpatternsofitsfinal
form,guidedbythepreferencesofthepersonwhoisdrawing.Thelifeofthedrawingbelongstothepersonwho
madeit,buttheoriginaldotandthefinalformbelongtoeveryone.Noonepersonownsthedot,andeveryone
cansharetheformonceitisconcludedandreleasedforobservationandinterpretation.
Understandingdrawingasapreferentialprocessfromdottolinetoshapetopatterntoformcanbeausefulpath
formakingdrawingsfromtheinside/out,andforseeingdrawingsfromtheoutside/in.
Usingwhatevertoolstheyprefer,participantswillbeguidedtoselectthesubjectsandobjectsthatbestfacilitate
theirabilitytodrawwithincreasedattentiontothissequentialprocessfromdottolinetoshapetopatternvia
theintimateparticularitiesofpreferencetowardthefulfillingconclusionofform.Participantswillviewallofthe
drawingsanddiscusstheirprocesses,asseenwithintheevidenceofthedrawings,andasrememberedfrom
havingdrawnthem.

MichaelMooreholdsaBFAdegreein
PrintmakingfromSyracuseUniversityandan
MFAdegreeinDrawingfromtheUniversityof
Washington.MichaelstudiedInuitcarvingsin
Churchill,Manitobain1975.Hetraveledto
Japanin1988and2001,andtoChinain2001.
HetaughtattheUniversityofSouthernMaine,
19671992,theCallendarParkCollegeof
Education,Falkirk,Scotland,1972/73.Michael
hasbeenamemberoftheGraduateFacultyat
ThePennsylvaniaAcademyoftheFineArtsin
Philadelphia,since1992,wherehewasDirector
ofGraduatePrograms,199498,andChairof
thePostBaccalaureateProgram,200413.Asa
memberoftheGraduateFaculty,heteaches
Drawing,andadiscussionseminarentitled
Subject,Form,andContent.Hetaughttwelve
drawingworkshopsatTheHaystackMountain
SchoolofCrafts,19852012.Michaelmaintains
studiosinPhiladelphiaandMaineandhas
exhibitedhisworkinavarietyofsolo,group,
andfacultyexhibitionsduringthepast45years.
www.drawingdrawings.com
www.drawtodraw.com

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WeAllDraw

Saturday,2pm,Concurrentworkshop:
Beingpresentinyourownbody,withpracticalexercisesinawarenessusing
gesturedrawings,withChristian&GroCecileMontarou

Thefollowingfivestepsofthissessionbuildoneeachother,
makingeasierfortheparticipanttomaster.
1.Relaxingthebody:discoverhiddentensionsinthebodyin
ordertoobtainarelaxedstateofmindbeforestartingtodraw.
2.Throughaseriesofdrawingsexercises,whosepurposeisto
feelthedrawingtoolasaprosthesisofthebody,theparticipant
willexperiencetheautonomyofdrawingsgesture,disconnected
forawhilefromthecontrolofthemind.
3.Throughworkingwithdrawinggesturesconnectedtoletters
andwords,theparticipantwillinvestigatetheforgotten
connectionbetweensound,gestureandvisualexpression.
4.Usingthesepreliminaryexperiencestotranslatedifferent
objects,byintegratingasuccessionofgesturessequencersto
renderasubjectvisually.

ChristianMontarouisavisualartist,borninFranceandlivinginNorwayformanyyears.EducatedinBeauxArt
schoolsinLeMansandAngersfrom1967to1972,laterinNorwayatOsloFineArtsAcademy197273.
Pedagogicalstudies197576.Montarouhasfortyyearsteachingsexperience;teachingatOsloUniversityTeacher
TrainingCollege,PedagogicalCoachingofArtTeachersCandidates(todayOsloUniversityCollegeofApplied
SciencesFacultyoftechnology,artandDesign),teacherattheUniversityofOsloFineArtAcademyandatthe
OsloSchoolofArchitectureandDesign.ThelastfifteenyearshehasbeenworkingasanAssociateProfessorin
theDepartmentofLandscapeArchitectureandSpatialPlanningatTheNorwegianUniversityofLifeSciencesin
s,Norway.Forthetimebeing,heisresponsibleforateachingprogramindrawingthatiscoretotheLandscape
Architecturedegreeprogram.Montarouhas,for20yearshadayearlygrantfromtheNorwegianGovernmentfor
hisArtwork,whichisrepresentedinseveralofthemainArtinstitutionsinNorway.
GroCecilieMontarouwasborninNorway(1962).Shehasworkedasaphysiotherapistfornearly30yearsand
sheisSpecialistinPsychomotorPhysiotherapy,auniversitybasedpostgraduatephysiotherapyeducationin
Norway.Hermethodputsemphasisonthebodyandmindunity.Tensionsinthebody,whichheldovertime,
havenegativeeffectsuponthebreath,balance,motorskillsandtheavailabilityoffeelings,thoughtsand
creativity.In20years,shehasdevelopedcoursesforphysicaltherapistsworkingwithadolescentshaving
psychosomaticandpsychiatricproblems.Furthermore,shehasgivenlecturesatdifferentCollegesand
UniversitiesinNorwayandholdpresentationsatseveralnationalandinternationalcongresses.Asan
introductiontodrawing,theparticipantsgetthechancetodiscoverandreleasesomeoftheirhabittensions,
whiletheyaresittingandstanding.Thetargetistoobtainarelaxedandinspiredstateofmindbeforestartingthe
drawingprocess.

18

WeAllDraw

Saturday,2pm,Concurrentworkshop:
MazingtheFaceTracingtheGaze:Multisensoryfacemapping/face
making,withPamelaLawton

ChuckClose,onportraiture:Theresaphysical,experientialaspecttoitalmostliketraversingalandscape.If
youwerewalkingacrossareallandscape,youwouldcometoacreekandyoudhavetogetacrossit,andthen
youdhavetowalkaroundstones..Ithinkofitasacreageacreagethathappenstobeaface.Matissesaid,
Lookatlifewiththeeyesofachild.Inordertopaintarose,onehastoatfirstforgetalltherosesthatwere
everpaintedWhenIpaintaportraiteverytimeIextractfromthesamepersonadifferentbeing.
Whatisaportrait?Whatisalikeness?Inthisworkshop,wewillforgemultiplepathwaysfromfacetopaper,
defyingourownconventionsandconceptionsofselfportraitureandselfimage.Limitingoursenseofsight,we
willenhanceandutilizeperceptionsdiscoveredthroughtouchandsound,decodingourownfeaturesaswedraw
themasifforthefirsttime.Wewilluseexperimentalandtraditionalmaterialsandmethodsthatenhancethis
approachandbuildreliefmixedmediadrawingsthatembodyformthroughlineandchiaroscuro.From
selfportraits,participantsmayworkcollaboratively,drawingportraitsfromasharedverbaldescription.
IpioneeredthesemethodsatTheMetropolitanMuseumofArt,along
withRebeccaMcGinnisandDeborahLutz,inSeeingThroughDrawing,
aclassdevisedforadultswithlowornovision,whichispopularamong
sightedparticipantsaswell.InteachingStudioPracticesInAbstractArt
atManhattanvilleCollege,Ialsoutiliseprocessoriented,
materialsdrivenengagementwithformstochallengeconventionsand
expectationsofwhatisagooddrawingandwhatisalikeness.

PamelaLawtonspaintingsanddrawingshavereflectedtheheightof
theWorldTradeCenter,thecacophonyofTimesSquare,NYC,the
fountainsofSeville,andtherhythmsoftheIndianOcean,allplaces
whereshehascreatedartwithzeal.Inspiredbyherstudents,she
sharesherpleinairartmakingpracticeswiththem,includinginthe
galleriesoftheMetropolitanMuseumofArt,onNewYorkstreets
whileteachingforEugeneLangCollege,andinplacessuchasSriLanka,
Afghanistan,andCorciano,Italy,thelatterwhileteachingforAmerican
University.Shehasexhibitedlocallyandinternationally,including
onepersonexhibitionsattheGaleriaNacionalinSanJose,CostaRica,
TheCondeNastBuilding,NY,180MaidenLane,NY,TheAtrium
Gallery,NY,andtheGaleriaIsabelIgnacioinSeville,Spain.Group
exhibitionsincludingherworkhavebeenfeaturedinPierogiGallery,
NYC,SideshowGallery,NYC,TiborDeNagyGallery,NYC,TheArtists
Museum,Lodz,Poland,andtheEmmanuelHellerGallery,TelAviv.
LawtoniscurrentlyanArtistInResidence(AIR)atChashama,NYChas
beenanAIRattheWorldTradeCenterthroughtheLowerManhattan
CulturalCouncil,amongothers.ShereceivedaBAfromBennington
CollegeinvisualartsandanMFAinpaintingfromtheCityCollegeof
NewYorkandScuolaLorenzoDeMediciinFlorence,Italy.WhileafacultymemberatEugeneLangCollege,New
SchoolUniversity,shecreatedastudyabroadartprograminSriLanka.ShehasbeenteachingatThe
MetropolitanMuseumofArtformorethantenyears,whereshehelpedtocreateacourseSeeingThrough
Drawing.SheiscurrentlyonthefacultyofManhattanvilleCollegeinPurchase,NewYork.

19

WeAllDraw

Saturday,2pm,Concurrentworkshop:
Ariverrunsthroughus,withJillJourneaux

Thisworkshopwillconsiderthepotentialofdrawingtoenhanceasenseofpersonalwellbeing.Byworkingwith
ideasandimagerydrawnfromtheriverThamesandthecityitnurturesandsupports,andrelatingtheseto
imagingthebodyandself,wewillusearangeofapproachestodrawingthatexplorenotionsofwellbeingand
wholeness.Wewilldrawonandattheriversedge,dependingonthetideandweather,inordertodevelop
imageryfromtheriverbyobservingsuchqualitiesasitsspeedandmovement,thewaythelighthitsit,orhowit
offerstransportforpeopletocometogether,andenablesfoodandothervitalitemstobebroughttothecity
thussustainingacommunityofpeople.
Wewilltakethesedrawingsbackintothewarehousespaceandthenworkthroughaseriesofdirecteddrawings
thatareintendedtoenableustorealiseimagesofourselves(individuallyorcollectively),whichcanoperateas
symbolsormetaphorsforselfandforbody.Thesedrawingswillfocusonourconnectionstotheriver,theearth
beneathus,thesky,thecity,natureorthewind,therainorthesundependingontheweatherandwhatis
happeningontheriver.Themesmayincludeimaginingtheriveras:energiser,cleanser,lightandilluminator,
breatheandvoice,bringerofnourishmentandsafety.
Whenwehavegatheredenoughmaterialwewillworkthesedrawingsintolargerimagesthatbringtogetherthe
experiences,feelingsandideasthatwehaveexaminedthroughourdrawings,withtheaimofachievingsome
synthesisofimagery.

JillJourneauxisProfessorofFineArtEducationandResearchDegreeLeaderatCoventrySchoolofArt&Design.
Herinterestisintherepresentationofphysical,emotionalandpsychologicalrealitiesthroughautobiographical
narrative:thefemalebodyasanexperienceofinhabitation,thecraftsandartifactsofdomesticityascontentand
processforfineartpractice,andnotionsofbeauty.Sherealizesherpracticethroughdrawingandstitching,
examiningthespacebetweenartandcraft,andtherelationshipsbetweenthedecorativeandthedomestic.Her
researchconsiderstheevolvingnatureofthefineartcurriculum,theteachingofcreativityandtheshiftingplace
offineartwithintheacademy.HerworkisheldinpublicandprivatecollectionsintheUK,USAandEurope.
www.jilljourneaux.co.uk
www.lboro.ac.uk/departments/sota/tracey/journal/dab/noed/journeaux.html

20

WeAllDraw

Saturday,2pm*,Concurrentworkshop:
AnimatingtheBargehouse,withSaraSchneckloth
Acollaborative,handdrawnanimationprojecttoactivatethearchitecture,history,andspatialpotentialofthe
2015LondonTtDsymposiumsite.Inthisworkshop,wewillworkwithinaspecificareaintheBargehouse,
drawingimpressionsof,andimaginedpossibilitiesfor,thearchitecturalspace.Wewillcreatemultipledrawings
thatcanbeshowninanimatedsequence,rangingfromsimple(cracksspreading,animalsmigrating,shadows
movingacrossthewall)tocomplex(narrativehistoriesunfolding,spacesbeingradicallyrestructured).All
drawingswillhavethecommonthreadofrespondingto,andengagingwith,theuniquefeaturesthat
characterizethespace.Allfinisheddrawingswillbescannedinsequence,animated,andthenprojecteddirectly
backontopofthesourcesurface,overlayingthearchitecture.Theresultwillbearunninghanddrawnanimation
thatactivatesthespaceasinterpretedbyallwhohavedrawnit.
*Thisprocesswillcontinuethroughouttheeventandwillalsobeavailableasadropinsessionthroughout
Saturdayafternoon.

SaraSchnecklothhasshowndrawingsinoversixtyexhibitionsthroughouttheUS,SouthAfrica,andFrance,and
heressaysondrawingandembodimenthaveappearedinthe
JournalofVisualCulture
,
VisualCommunications
Quarterly
,andthe
ManifestInternationalDrawingAnnual
.SheholdsanMFAfromtheUniversityofWisconsin
Madison,andhaslivedandworkedinIowa,Chicago,Seattle,SanFrancisco,CapeTown,andColumbia,SC.An
AssociateProfessorintheSchoolofVisualArtandDesignattheUniversityofSouthCarolina,sheispresently
investigatingtheintersectionsofbiology,geology,andarchitectureasimaginedthroughdrawing.

www.saraschneckloth.com

21

WeAllDraw

Saturday,2pm,Concurrentworkshop:
RulesofDrawing:MakingandBreaking,
withTaniaKovats&UALMAstudents
Thisworkshoplooksathowwemightexaminethewaysweapproachmakingadrawing,lookingattheruleswe
applyandtheruleswebreak.

Drawingisaparticularlyopenendedformofcreativeoutputandonethatisinafluidstateofdefinition,yetthe
drawingswemakefollowrules,explicitlyorcovertly.

Weallhaveasetofrulesthatweapplywhenwemakeadrawing.Thisworkshopwillexplorethoserulesto
createacollaborativegroupdrawing.

Nametenrulesofdrawing.
Theydonthavetoberulesthatwouldapplytoanyoneelsebutcanreflectonyourownpractice.
Makeadrawingthatbreaksatleastoneofyourrules.
Takearulebelongingtosomeoneelseandusesomeoneelsesrulestomakeadrawing.
Placethesedrawingstogether.Selectsomerulesandapplythemtoagroupdrawing.

TaniaKovatsstudiedatNewcastlePolytechnicbeforecompletingherMAattheRoyalCollegeofArtin1990.She
exhibitedatBarclaysYoungContemporariesattheSerpentineGalleryin1991.Herworkhasfocusedondrawing
andmappinglandscapesaswellasdescribingorusinggeologicalprocessesinthemakingofbothsculptureand
drawings.TaniawasawardedtheHenryMooreDrawingFellowship,UWE,Bristolin200405andwasVisiting
FellowattheSchoolofArchaeology,OxfordUniversity2006.HerTreewasselectedfromnineothershortlisted
artistsintheDarwinsCanopyprojectattheNaturalHistoryMuseumandwascommissionedtocelebrate
Darwinsbicentenaryin2009.

TheMADrawingCourseatWimbledonhasacrossdisciplinaryapproachtodrawing.Thecoursehasatitsheart
theresearchprogrammeofindividualstudents.Wehavestudentsfromarangeofbackgroundsincluding
scientists,illustrators,educators,digitalgamevisualizers,designers,andanthropologists,workingalongside
artists.Allstudentsshareafocustoexploretheirpracticeanddeveloptheirthinkingthroughdrawing.

http://www.arts.ac.uk/wimbledon/courses/postgraduate/madrawing/

22

WeAllDraw

Saturday,2pm,Concurrentworkshop:
EmbodiedAnatomyClass,withEmilySheehan

ThisworkshopwillfocusonconnectingatraditionalAnatomybasedapproachtofiguredrawing(basedon
GeorgeB.Bridgmans
ConstructiveAnatomy
andDr.PaulRichers
ArtisticAnatomy
)toaprogressionof
perceptualdrawingexercisesthatengagespecifickinestheticsensoryexperiencesthatallowdrawingstudentsto
developanembodiedunderstandingofskeletalandmuscularanatomyoftheheadandface.
Thelessonswillbesupportedusingtraditionalfiguredrawingmethods:lookingatthehumanformusing
anatomybasedanalysis(forthismethodtheartistidentifiessubcutaneousskeletal,muscular,andtendenous
landmarksthatarevisibleonthebodyandanalyzestheirfunctioninrelationtotheirpositioninaparticularpose
toprovidealogicaroundwhichtheartistcanrepresenttheform).WhereIexpandthetechniquesisinadjusting
andcontrollingtheimage,sothattheartistsandtheviewersperceptionandexperiencetravelthroughthe
imagefromInsideoutandOutsidein,aconstructIusetohelpstudentsdevelopadependablerelianceon
theirownbodilyperceptionsastheydraw
.InsideOutperceptionisselfrevelatorystartingwithaninternal
insight,emotion,orbeliefandrepresentingasituationcertaintoconnectthatinternalstartingpointwith
recognisableenvironmentalorexperientialtriggersthatresonatepersonally.Conversely,OutsideInperception
involvespurposelyshiftingonessenses(obscuringvision,changingbalance,creatingphysicaldissonance)inorder
toencounterfamiliarexperiencefromuncomfortableoroutsideperspectives.Thisexaggeratedsensory
environmentphysicallyacknowledgestheunwieldytaskofrepresentingpresentexperienceasimage.

EmilySheehanisAssistantProfessorofFineArtatIndianaUniversitySoutheast.EmilyreceivedherM.F.Ain
VisualStudies,withaspecialisationinDrawingandSculpturefromtheMinneapolisCollegeofArtandDesign
(MCAD)in2008.Emilysartisticresearch/practiceutilisesperceptualdrawing(drawingfromobservationina
multisensoryway)toexplorethewayamarksleftonapagebecomeevidenceoflivedexperience.Emilyuses
bothtraditionalandnontraditionaldrawingmaterials,andtechniques,tocreateworksthatprovokebothherself
andtheviewertolingerinthehumanspacebetweenencounterandrecountingwherewemakeourworld
personal.EmilyspiecesincludedareincludedtheprivatecollectionsofTheWeismannartMuseumandthe
TargetCorporation.In2014,Emilywasoneofthreeartistsselectedfromanationalpooltoexhibitherworkat
TheDrawingShow
(ashowcaseofcontemporarydrawingthattookplaceatthe
MultiplesArtFestivalof
ContemporaryArtandCraft
inChicago.In2015Emilysdrawingswereselectedforinclusioninthe
6th

annual
DrawingDiscourse:exhibitionofcontemporarydrawing
atUniversityofSouthCarolinaAshvilleaswellasthe
35th

editionofTheBradleyInternationalExhibitionofDrawingsandPrints
atBradleyUniversityinPeoria,IL.Shehas
hadSoloexhibitionsatthe
BarrGallery
atIndianaUniversitySoutheast(2012),the
McGrathGallery
atBellarmine
University,LouisvilleKY(2012),in2013EmilyreceivedsponsorshipfromtheGustavusArtistseriesandthe
Johnsonfundforasoloexhibitionandvisitingartistengagementsinthe
SchaefferGaller
yatGustavusAdolphus
College,St.Peter,MNandIn2014,Louisvillesprestigious
GreenBuildingGaller
ypresentedasoloexhibitionof
herwork.
emilysheehanstudiosite.com

23

WeAllDraw

Saturday,2pm,Concurrentworkshop:
DrawingintheFourthSpatialDimension,withGemmaAndersonandAlessio
Corti

Whatisthefourthdimensionalspace?
Howcanthefourthdimensionalspaceexistwhenrealityisthreedimensional?
Can4DspaceberepresentedinathreedimensionalrealityAndinatwodimensionalrealityCanitbe
drawn?
WiththesequestionsasastartingpointAndersonandCortiwillguideparticipantsthroughdrawinginthefourth
dimensionalspacebyanalogyandintuition.Integratingthekeyconceptofdimensionalpromotionwhichhad
beenusefulintheircollaborativeresearchthroughimagesfromourowncollaborativeresearchwork.Thegoal
forthisworkshopsis:visualizationanddrawingofobjectsin4dimensions.Thepointisnottomakebeautiful
drawingsbuttomakedrawingsthatcreateimagesinthemind.

GemmaAndersonisLecturerof
DrawingandPhDcandidateat
FalmouthUniversity.In2014,
AndersonfoundedaDrawing
ResearchprojectTheCornwall
MorphologyandDrawing.After
graduatedfromtheRoyalCollegeof
Artin2007,Andersonhassincebeen
ArtistinResidenceatImperialCollege
MathematicsDepartmentand
sustainedalongtermcollaboration
withtheNaturalHistoryMuseum
London.Recentexhibitionsinclude
FacingHistory,VictoriaandAlbert
Museum,CrookedRain,CrookedRain,
CentreforContemporaryArt(Derry),
Isomorphology,GalerieThore
Krietmeyer,Berlin,Portraits;Patients
andPsychiatristsTheFreudMuseum,LondonandSKIN,WellcomeCollection,London.Andersonhaswonseveral
awards,includingaLeverhulmeArtistinResidenceAward,aresidencyatAcmeStudiosFireStationinLondon,an
EngineeringandPhysicalScienceResearchCouncilawardandaWellcomeTrustArtsAward.Andersonsworkis
heldinthecollectionoftheV&AMuseum,TheWellcomeTrust,TheNaturalHistoryMuseum,TheDarcy
ThompsonZoologicalMuseum,TheArtsCouncilofNorthernIrelandandTheRoyalCollegeofArt.
www.gemma.anderson.co.uk
www.cmadc.uk
ProfessorAlessioCortiholdsaChairinPureMathematicsatImperialCollegeLondon.Hismainareasofinterest
lieinalgebraicgeometry,particularlyhigherdimensionalbirationalgeometry,minimalmodeltheory,Fano
varieties.
http://www.ma.ic.ac.uk/~acorti

24

WeAllDraw

Saturday,4pm,Dropinworkshop:
MapDrawing,withRobinWhitmore
200yearsago,theSouthbankwasaverydifferentplace.Whatwouldithavelookedlike?Wholivedhere?What
happenedhere?JoinRobinWhitmoretomakeagiantmapdrawingofLambethMarsh,theareasurroundingthe
Bargehouse200yearsago.Wewillbeusingcopiesofoldphotographs,paintings,drawingsandmapstoattempt
torecreateadetaileddrawnreconstructionoftheneighbourhood.
ThroughouttheweekRobinwillbeinvitingmembersofthepublictocontributetheirownanecdotesandimages
toaparallelmaptellingthemorerecenthistoryofLambethMarsh.Whatgoesonherenow?Whatsightshave
youseen?Whoarethenewresidents?Whatarepeopleslivingmemoriesofthisarea?Whatconnectionsare
therewiththepast?

RobinWhitmoreisinterestedinmakinglocalhistoryaccessibleandexcitingthroughthecreationofdetailedhand
drawnmapswhichrevealsocialpatternsofchange.HislatestmapshavebeengeneratedattwoKennington
librarieswithinputfromthelocalcommunities.ThroughouttheFestivalhewillbeshowingoneintricatemap
whichillustrateshowthemoderndaynatureoftheiconicLGBTpub,theRoyalVauxhallTavern,hasbeen
informedbythehistoryofitsenvironment.
Robinisprojectleaderfor
19Plus
,anartsprograminCambridgeHouseCamberwell,forartistsandlearning
diverseadults.Heisalsocurrentlyworkingwiththeartscollective
Duckie
ona5yearprojectinwethostelsfor
homelesspeopleinVauxhall.

25

WeAllDraw

Saturday,4pm,Dropinworkshop:
ExploringtheBargehousethroughdrawingandstitch,withRosieJamesand
MarciaTeusink

ThisdropinworkshopwillencourageparticipantstoengagewithBargehouseanditsimmediateareathrough
observationaldrawing,historicaldocumentsandacommunalstitchedtextiledrawing.Wewillinvestigateways
thatobservationaldrawinghelpsusengagemoreintimatelywithplacebycomingintothepresent,slowingdown
ourperceptionandhelpingushaveamoreembodiedexperienceofwhereweare.Lookingatoldphotographs
andthinkingaboutthehistoryofaplaceaddsanotherlayertoourexperience:wearenotjustpayingattention
toourpersonalexperienceinthismoment,butallowingforamoreexpansiveconceptionoftime,providing
opportunitiesformorelayereddrawings.Last,turningourdrawingsintostitchisatransformativestepthatuses
ourhandsandmindsinadifferentway,allowingforvisualandtactileinnovation,conversationandcollaboration.
RosieandMarciaarebasingthissessiononworkshopstheyhavebeenleadinginEastKentaspartofaproject
calledDMAGJoinedupArts&Museums,whichbroughttogetherheritagesites,artistsandcommunitygroupsto
investigatetheimpactofWWIontheregion.

RosieJamesstudiedtextilesatUniversityofCreativeartsinFarnham,SurreyspecialisinginPrintedTextiles.She
followedthiswithanMAinFineArtTextilesatGoldsmithsCollegeLondon.DuringherMAshebegantoexplore
theuseoffabrics,threads,clothsandneedlesastoolsandmaterialsforfineartandbecameinterestedin
interpretingexistingheavyweightcontemporaryartinadelicatetextileform.Thisledhertothinkofdrawingas
atextilepractice.Rosieisinterestedinhowdrawingwithaneedlecanbecomeabondinggroupactivitywhen
donebyhand.Shelikestocomparetheneedleandthepencil.Shenowmakesdrawingsusingasewingmachine
andsomehandstitchandencouragesotherstodothesamebyrunningworkshopsalloverthecountryand
abroad.HerworkisexhibitedinHotelsandMuseumsinternationallyandshehaspublishedabookcalled
Stitch
Draw
publishedbyBatsfordPublications.
MarciaTeusink
hasbeenteachingdrawinginschools,museums,churches,windmills,cemeteries,fieldsand
forestsfortwodecades.ShehastaughtinsuchinstitutionsastheBritishMuseum,theBrooklynMuseum,Pratt
InstituteofArt&Design,theLowerEastSidePrintshop,theZurichKunsthaus,amongmanyothers.Marciaholds
anMFAinVisualArtfromtheCityUniversityofNewYork,QueensCollege,andanMAinMuseum&Gallery
EducationattheInstituteofEducation,London.Shewroteherthesisondrawinginmuseumsandgalleries,
exploringdrawingasameansofengagingwithmuseumcollections.Marciaorganisesindependentcoursesin
museumsas
DrawLondon
,andshefrequentlyleadsworkshopsinheritagesitesinKentwithtextileartistRosie
Jamesas
Draw:Stitch
.
www.dadonline.eu/projects/dmagwwicodenamejoinedup
www.drawlondon.co.uk
www.rosiejames.com
www.facebook.com/drawtostitch

26

WeAllDraw

Saturday,4pm,Dropinworkshop:
HapticDrawing:TheTactileSelfPortrait,withMarnaShopoff

JoyceCaryhassaidthatartistsseeanddrawaccordingtotheirpersonalitytodrawisameanstoknow,to
expressarealitymorealivethantheonewenormallyexperience.
Drawingisamodeofdiscovery.Itgivesadeeperinsighttoonesownperceptions,whilealsocreatingan
opportunitytoexplore,playandexperiencetheworldinanewway.Thisworkshopwillexplorethesynchronicity
betweenthesenses,translatingperceivedexperiencesviaamark,whilecreatingadirectlineofcommunication
fromtouchtopaper.
Movingawayfromrepresentationandtowardsafeelingorsensation,participantswillusehapticdrawing
techniquestoexpresstheirrealitybymeansoftouch.Participantswillclosetheireyes,andallowtheirsensesto
interpretwhattheyarefeeling.Thesenseoftouchbecomestheirvision.
Tactileinformationwillbeconvertedintovisualinformation.Witheyesclosed,theparticipantswilltouch,feel
andexploretheirface,hairandneckwithonehandwhilerespondingwithmarksmadebytheotheronpaper.
Theparticipantswithexperience3Dimentionaldrawing,bymeansoffeelingdepthandthephysicalityoftheir
faces,thetextureoftheirskinandthesubtletiesoftheirhair.Insteadofinvestigatingsomethingthatis
2Dimensional,whatoneisseeing,theparticipantswillinterpret3Dimensionality,whattheyarefeeling.This
exercisecreatesadeeperunderstandingof3dimensionality,texture,spaceandpersonalinterpretation,using
onesownsenses,paper,pencilsandpens.
Participantswillemergewithagreatersenseofspatialpossibilities,explorenewwaystomakeamark,and
broadentheirsenseofdrawingpossibilitiesthroughintuitiveinvestigationsandcuriosity.
Projects&ideasborrowedfrom:
DrawingProjects;anexplorationofthelanguageofdrawing,
byMickMaslen
andJackSouthern.
MarnaShopoffisanartistand
educatorwithanemphasison
abstractpaintingandintuitive
drawing.SheholdsaBFAinpainting
withanarthistoryminorandanMFA
inpaintinganddrawingfromHerron
SchoolofArt&Design,Indianapolis,
IN.Interestedintheconceptsof
abstractionandspatialdesign,she
explorestheideaofplaceidentity
withinthebuiltenvironment.Her
workexplorestheideaofperception
asafunctionofhumanexperience,
placeandpersonalmemory.Shehas
ledpaneldiscussionsonabstract
learningandhapticdrawingatthe
2015FATEConferenceandatTaliesin
(2014).Shopoffisasanadjunct
professorinFoundationsandDrawing
atheralmamater.
marnashopoff.com

27

WeAllDraw

Saturday,4pm,Dropinworkshop:
ReflectionIn&OnNetworkDrawing,withClareScanlon&PaulGrivell

NetworkDrawingisaplayful,groupdrawinggamewithspecific(mutable)rulesofengagement.Itisaninclusive
practiceinthatitdoesnotrequireanyspecialexpertiseindrawing.
Inthelightofpostcontemporarydiscourseonnetworkedcreativity,ourresearchintothispracticehasbeen
broadlyframedbythe4Estheories(enactivist,embodied,embeddedandextended)theoriesofcognitionand
learning.Thegrowingbodyofresearchemergingacrossthedisciplinesofsocialsciences,neuropsychologyand
education,challengesdualistconceptionsoflearning,astakingplaceinthemindofthelearner,offeringinsteada
progressivemodelwhichresituateslearningandcognitionintheinteractionoftheindividualwithandinthe
environment(socialandspatial),throughtheirbodyandbyextensiontheuseoftools.Assuch,drawing,
particularlytheactivityofdrawingwithothers,canprovideanidealopportunityforindividualstoengagein
dialogueandreflectionontheirown(meta)learningprocesses.Networkdrawingoffersastructuredframework
inwhichtofocusthereflectionprocessinandoncollaborativeenterprise.
ThroughourpracticetodatewehaveestablishedthattheactivityofNetworkDrawinghaspossibleapplications
inarangeoffields,includingthepedagogic(withstudentsandstaffacrosssubjectareas),thetherapeutic(in
care/socialworkwithcommunitygroupsanddementiapatients),andincreativepractices(withartists,
designers,craftspeopleandprogrammers).

ClaireScanlonandPaulGrivellare
colleaguesintheCreativeIndustry
departmentofNorthbrookCollege,Sussex
wheretheyteachacrosstheoryand
practiceonFineArt,Mediaand
Photographyprogrammes.
Since2007theyhavecollaboratedas
artists,researchersandwriters,groundedin
butnotexclusivetothecontextof
education.Claireisinterestedinhowthe
subjectiveandexperientialnatureof
aestheticpractices,bothinterrogateand
produceknowledge.Paulisinterestedin
theroleofcreativityineducationandthe
roleofeducationincreativity.Theyboth
haveaninterestinthebricolageasa
creativeandqualitativeresearch
methodologyandsociallyengagedpractice.
https://prezi.com/nxsjcmvgwgh/networkdrawingametalearningtool/
www.academia.edu/8581365/Network_
Drawing_A_MetaLearning_Tool
www.facebook.com/groups/186066274882991/

28

WeAllDraw

Saturday,4pm,Dropinworkshop:
MemoryDrawing,withMichelleSalamon

Thisworkshopwillexplorehowmarkmakingcanbeusedtoarchive,storeandretrieveinformation,toassistin
thebattleagainstthetransienceofmemory.Participantswillusedrawingbothasacapturemechanismand
storagedevicewithaviewtoassemblingcapturedimagesintoacommunalnarrativespacereconstructedfrom
theirindividualmemories.Intermsofwhathappens?wewilllookathowdrawingcanbeusedtorecord,
conceptualiseandcommunicatespaceandcontentandtoaddresswhatdowelearn?askwhethertranslating
whatweseeintomarkshelpsembedthememoryofalocation.Thecollectiveoutcomewillformthebasisfor
furtherresearchintohowmarkmakingisusedtoarchive,storeandretrieveinformationandsubsequentlyto
embedmemories.
Theseexperimentswillbeaimedatdevelopingapracticeofcreativeimaginationasaforcethatcanleadontoan
approachemployedacrossartseducationenablingstudentstodeveloptechniquestoachieve"higherfaculties"
ofartintermsofmemory,imagination,intelligence,andfeeling.

MichelleSalamonholdsanMAinanimationfromtheRoyalCollegeofArtandisafreelanceanimatorand
AssociateLecturerinMovingImageontheBAGraphicDesigncourseatCentralSaintMartinsCollegeofArtand
Design.HerresearchprojectDrawingLaboratoryatCSMexploresrelationshipsbetweenthephysicalactof
drawingandthecognitiveactofmemory.In1996MichelledirectedCRIMPLENE,afilmcommissionedbyArts
council/Channel4aspartoftheAnimatescheme,andlaterMOSESANDTHEPASSOVERMEAL,commissionedby
S4CaspartoftheirAnimatedWorldFaithsseries.ShehastaughtdrawingandanimationoncoursesatLondon
CollegesincludingJohnCass,ArtMediaandDesignDepartmentofLondonMetropolitanUniversityandUAL.
MichellesrecentpaperDevelopingaStrategyforAssessingCreativity:theCreativeSpiralwaspublishedinthe
journal
Investigationsinuniversityteachingandlearning
,andherpaperpaperMemoryandAnimationwas
presentedatAnimatedRealitiesaconferenceatEdinburghUniversitySchoolofArt.Michelleregularlyposts
sketchestoUrbanSketchersandUrbanSketchersLondonandtoherownblogMemoryBox,exploringthe
extendedexperiencesofsketchinginpublicplaces.
michellememorybox.blogspot.co.uk

29

WeAllDraw

Saturday,4pm,Dropinworkshop:
VerbalDrawing,withJoannaNeil

Exploringexperiencesoflooking,seeinganddescribing:Howcanweusewordstocreateandhelpusunderstand,
thinkaboutandpreparefordrawing?
Lookingatanunfamiliarobjectyouwillbeaskedtocreaterichdescriptionsofyourobservationsasanaudio
recording.Youwillbeencouragedtothinkaboutyourrecordingasaverbaldrawingorapreliminarysketch.
Youwilluseyourwords,pauses,corrections,repetitionsandstumblesasalinethattracestheformsanddetails
oftheobject.Therecordingyoumakeisadrawinginitsownrightbutalsoservesasapreparatorysketchthat
willberelistenedtoforfurtherdrawingsusingmoretraditionalmaterials.Theverbaldrawingrecordsthe
processoflooking,thinkingandsensemakingtobeexperiencedagain.
YouareinvitedtodiscussyourexperiencesandcontributetoadigitalautoethnographicPhDresearchproject.
Thereisalsotheopportunitytoparticipateinacocreatedsoundpieceforexhibition.

JoannaNeiliscurrentlyworkingonherPhDattheUniversityofGlasgow.SheisbasedintheschoolofEducation
wheresheisbringingtogetherherresearchinterests:Arts,EducationandTechnology.ThePhDexploresthemes
aroundconversationalreflectionandhowtechnologycansupportandenhancecreativeandreflectiveprocesses.
Herbackgroundandfirstdegreeisinfineart(painting)withadevelopedspecialismintofinearttextileswithfree
machinedrawingbeinganimportantpartofherpractice.Arecurringthemethroughherworkhasbeenan
interestinthemakingprocess,theprocessofmakingwork,sometimestheworkbeingaboutprocessandthe
processbeingvisibleinthework.Thiswasfullyexploredinarecentdigitalautoethnographyresearchproject,
whichledhertoexamineherapproachestodrawinginnewways.
JoannaistheprogrammeleaderfortheFdAandBA(Hons)topupprogrammesintextiles,fashion,interiordesign
andlecturerincreativedisciplinesatUniversityCentreBlackburnCollege.Herresearchblog:
https://feltlikeit.wordpress.com/ Anexampleofadigitalautoethnographicresearchprojecthere:
https://drawnconversation.wordpress.com/
DescriptionofMazeCoralVerbaldrawing3.00minutesfromTheHunterianMuseumResidency:
http://feltlikeit.podbean.com/e/descriptionofmazecoral/

30

WeAllDraw

Saturday,4pm,Dropinworkshop:
TheContingentSpace,withThomasAlbrecht

Iaminterestedinthecontingentnatureofmarkuponasurfacethatisfundamentalindrawing.Iproposetowork
withagroup,orparticipantscomingandgoing,inthemakingofachalkboarddrawingthatconstantlychangesas
participantscreateinadynamicandresponsiveway.Theephemeralwaymarksexistonachalkboard,aswellas
therelationshipofthesurfaceandmaterialtoeducationalenvironmentsworldwide,providesawonderfulway
forparticipantstoviewtheactofdrawingasafluidresponsesystem.Workingwithtemporalmaterialona
surfacethatbearsthetraceofchangeandrecordsadditiveandsubtractivemarkings,Iwillinviteparticipantsto
contemplatedrawingasanactionofthemindandbodyworkinginconcert,involvingbothplayandconsidered
response.

ThomasAlbrechtsliveartprojects
haveexploredritualandlanguagein
publicspaces,galleries,andmuseums,
proddingculturalbeliefsandindividual
doubts.Currentinterestsinvolve
durationandelementsofAbsurdist
Theatre,layingbarecontingencyin
humanconstructionsandslippage
betweentruthandfiction.Albrechthas
performedthroughouttheUnited
StatesandinEurope,notablyatGrace
ExhibitionSpace,NewYork;
DefibrillatorPerformanceArtGallery,
Chicago;PanoplyPerformance
Laboratory,NewYork;Dimanche
RougeParis;andduringfestivalssuch
astheBrooklynInternational
PerformingArtsFestival,Monthof
PerformanceArtBerlin,
TheSphinx
Returns
curatedbyWhitneyV.Hunter
atGraceExhibitionSpace,and
PerformatorioIVintheDominican
Republic.

HereceivedhisBFAfromtheRhodeIslandSchoolofDesign,aMasterofArtsinReligionfromYaleUniversity,and
hisMFAfromtheUniversityofWashingtoninSeattle.HeservesasAssociate
ProfessorintheArtDepartmentattheStateUniversityofNewYorkatNewPaltz.Hehaslecturedontopics
rangingfromteachingpedagogy,ritualandperformance,andcontemporaryvisualpracticesinvenuessuchas
theSchooloftheArtInstituteofChicago;SchoolofVisualArts,NewYork;ColumbiaUniversity;theCollegeArt
Association,NewYork;theQueensMuseum,NewYork;andtheInternationalSocietyforReligion,Literatureand
CultureinStirling,Scotland.HeservedastheMenilScholarattheYaleInstituteofSacredMusic,wasselectedas
aFacultyFellowfortheIllinoisProgramforResearchintheHumanities,andplaysaleadingroleinThinkTank:
IntegrativeTeachingInternational,basedintheUnitedStates.

31

WeAllDraw

Saturday,4pm,Dropinworkshop:
DrawingEnergy,withFloraBowden

TheDrawingEnergyprojectwasdevelopedbytheRoyalCollegeofArt,aspartoftheSusLabNWEEuropean
energyresearchproject.Itexploredpeoplesperceptionsofenergybyaskingthemtowrite,draworillustrate
theirthoughtsandreactionstothequestionwhatdoesenergylooklike?Over180membersofthepublic
participatedintheprojectthroughworkshopsandexhibitionsandproducedanarrayofdifferentvisualisationsof
energy.
Wearecontinuingtodevelopthemethodofvisualisingtheinvisiblethroughdrawing,togainfurtherinsightsinto
peoplesunderstandingandimpressionsoftheirenvironments.Throughthissessionwewillinvitepeopleto
participateintheresearchandcreatetheirowndrawingsoftheinvisible.

FloraBowdenisanMPhilPrintmakingcandidateattheRoyalCollegeofArt.From201315shewasaResearch
AssociateforSustainRCAandaresearcherontheSusLabNWEproject,whereshefocusedontheuseofdrawing
tounderstandpeoplesperceptionsofintangibleenvironmentalconditions.

32

WeAllDraw

Saturday,4pm,Dropinworkshop:
Hearts,MindsandGuts,withAngelaHodgsonTeall

Symposiumparticipantsat theBargehousewillbeenticedtodoubleblinddraw,havetheirspleens palpatedand

possibly give their Hearts, Minds and Guts. This practice, undertaken by a participant,lying down, witheyes
closed,movingslowlyalonga scrollofpaper,allowing astreamof graphitedoubleellipticaldoodlestoemanate
from a pencil held in either hand, whilst their spleen is located and massaged. The participants will
also/alternatively havethe opportunity tomakebocce(sketches)ofminilungs, livers,hearts,brains,bones,skin,
eyesorears,inceramicclay,asapledgeofparticipation. Formany participantssplenicpalpationhasproduceda
sense of wellbeing, at other eventsin thepast (including theUniversity oftheArtsCulturesof Resilienceand
TransActingprogrammes,incollaborationwiththeOrganDonationunitatStThomashospital,shownbelow).

AngelaHodgsonTeallhasworkedinthefield ofarts andscienceforhealth, negotiatingtheexpandingterritory of

medical humanities, since the 1990s. Through diverse and collaborative drawing practices, performance and
empathic interactions sheenticesotherstoproduceartworkswithher. HerPhDresearchDrawingontheNature
of Empathy at UAL focused on the benefits (and complications) of drawing within multiethnic hospital staff
communitiesand artsestablishmentsin South East Londonandnationallyandinternationallyingalleriesandat
conferences, often during periods of sociopolitical turmoil and reorganisation. Drawing is used to aid
investigations, sustain the craft skills ofmedicineandexploreemotionsand thoughts,inempathic therapeutic
interventions.Theseinterventions allowpeopleto slow down,play,analyse and reflect,creatingashiftingthird
spacewithinthehospitalor gallery,educationalcentreandoutreachward.The practicesofdrawingand empathy
arecritiquedattheheartofcommunitysocialvitality.

http://angelahodgsonteall.co.uk

33

WeAllDraw

Saturday,4pm,Dropinworkshop:
SketchbookCirclesmeeting,withAngieBrew&GaganSingh

AfterayearofdrawingtogetherandsharingsketchbooksaroundtheworldtheDrawingCirclesare(vexcitingly!)
meetingatWeAllDraw.Manyofthebooksarecomingtoo.GaganSinghisflyinginfromNewDelhi.Thisdropin
sessionisforexistingCirclemembersandthoseinterestedintheproject.YoucanjoinanewCircle,orcome
alongtodiscusstheinsandoutsoftheproject.EachCirclehasbetween3and12drawers,whoeachdrawina
sketchbookfor1month.Thebooksthencirculateamongthemembers,usingdrawingasavisualformof
conversation.Thebooksarephysical,sentbysnailorairmail,orbyhandifalocalCircle.

34

WeAllDraw

Sunday,10.30amMasterclass:
DrawingasanActofGenerosity,withKimSloane

Allgooddrawingis,atheart,anactofprofoundgenerosity.Itisagifttous,andispresentedtousasallgiftsare,
orshouldbe.Drawingisevidenceofthought,itisevidenceofcaring,ofempathy,andunderstanding,atitsbest,
itisevidenceoflove.
Howisthatthisevidenceisexpressedindrawing,howisitwecanfeelthissopowerfullywhenweareinits
presence?Thisworkshopwillproposethatdesireisexpressedintheachievementofafullnessofform.Form
shouldbepresentedassomethingwecanpossess.Wearemovedwhenwefeelthispresence,thiscaring,this
needtounderstandandshare.
Wewillengageinexercisestolearnhowtoseeandcreateform;howtomaximizeavolumetricpresenceonthe
page.Themethodologyrequiresnotalentorpreviousexperienceandunderscorestheideathatwecanalldraw!

KimSloaneistheChairofFoundationatPratt
Institutewherehehastaughtforoverfifteen
years.Heisapracticingartistwhohasshown
widelyandtwicewondrawingsawardsatthe
NationalAcademyofDesignMuseum.Mr.
Sloanehaspresentedondrawingandpedagogy
numeroustimesatFATE:FoundationsinArt,
Theory,andEducationconferences,atthe
"ThinkingthroughDrawingConferencein
Octoberof2013heldatColumbiaUniversityand
theMetropolitanMuseum,aswellasatRemix:A
symposiumonorganizedbytheArtandArt
EducationprogramatTeachersCollege,
ColumbiaUniversity,2014.Heisagraduateof
YaleCollegeandtheParsonsSchoolofDesign.

35

WeAllDraw

Sunday12:30,LunchtimeFilm:
VisualLiteracy:RethinkingtheRoleofArtinEducation

DirectedbyLisaMolomotandproducedbyCyraLevensonattheYaleCenterforBritishArt.Thisfilmfocuseson
thechallengesofteachingwritingandtheroleartcanplayinabroaderdefinitionofliteracy.Followingaunique
partnershipbetweenthecenterandlocalschools,thefilmalsoillustratesthewayamuseumcanbecomean
extensionoftheclassroom.

36

WeAllDraw

Sunday,2pm,Concurrentworkshop:
BOTH/ANDDRAWING:Howmightdrawingtogetherhelpusexploreaspects
ofanxietyanddepressiondifferently?
withAngelaRogers&DuncanBullen

Thereisagroupofpeoplewhohavelittleaccesstodrawingclassesanddrawingevents,thesearepeoplewith
longtermmentalhealthproblemswhoarenotcurrentlyhospitalised.Theyarelivinginthecommunitybutlead
sociallyconstrainedlivesandfeelunabletoattendlocalartclasses.Theworkshophasitsbeginningsinthe
experienceofteachingart,inparticulardrawing,togroupsofpeoplesufferingfromlongtermmentalhealth
problems.Problemsthatmakeitdifficulttolivewhatwemightthinkofasordinarylivese.g.goingouttowork,
cookingandshopping,travellingonpublictransportetc.
Howmightdrawinghelpusthinkaboutanxietyanddepressiondifferently?Thestruggletotolerateambiguityisa
commonaspectofdepressionandanxiety.Blackandwhitethinkingandthepolarisingemotionsthataccompany
itcanbeatrap,aviewpointthatexcludeswiderpossibilitiesorgreateroptionswhentryingtomakesenseoflife.
Therearepowerfulfeelingsthatsomethingcannotbebothrightandwrong,bothgoodandbad.Collaborative
drawingexerciseswhichencourageambiguitywilloffernewwaystoinvestigatetheseideas.
AngelaRogers
workswithdrawinganddialogueintheirwidestsensesoftenwithstrangers.Shehasshownwork
andhadresidenciesinUK,USAandEurope.ShehasbeenaresearcherinresidenceattheCentreforDrawing,
WimbledonCollegeofArtandaResearchFellowattheCreativityCentre,UniversityofBrighton.Sheholdsa
PracticeledPhDinvestigatingdrawingasameansofsocialinteraction.ShecurrentlyteachesontheFineArtMA
attheOpenCollegeoftheArts.Herresearchisavailableat
https://independent.academia.edu/AngelaRogers
DuncanBullen
isanartist,academicandwriter,who
drawsasawayofslowingdownboththeactivityofmaking
andofvisualacuity.Hehasaparticularinterestintheinterrelationshipbetweenthepracticeofdrawingandthe
practiceofmindfulnessmeditation.
DuncanisProgrammeLeaderforFineArt/Photography,MovingImageand
SoundattheUniversityofBrighton.HestudiedPrintmakingattheRoyalCollegeofArtandwassubsequentlya
recipientofaRomeScholarshipspending199192attheAccademiaBritannicaRoma.Hiswritingincludesthe
chapter
DrawingColour:BetweentheLineandtheField
inTheMobilityoftheLine,(2013)publishedby
BirkhauserVerlag.

37

WeAllDraw

Sunday,2pm,Concurrentworkshop:
Exploringandevaluatingdrawinginthefieldofmedicine:
Howisdrawingabletosupportmedicaleducationandlearning?
withJennyWright&DimiPanagiotopoulos

Thisworkshopintroducesparticipantstotheworldofdrawinginthemedicalfield,lookingatdifferent
approachesofanalysingempiricaldatafromdentalandmedicalstudents,andwillprovideapracticalsettingfor
exploringtheevaluationofadrawingactivitythatislinkedtobothPhDprojects.Participantswillbeexpectedto
takeanactivepartduringthesession.Theywillbeinvitedtomakeasseriesofdrawingsthatwillbeevaluated
usingdifferentdrawingcriteria.Initiallytheywilldrawfromimagesofthehumanheart,thentheywillmake
drawingsfromanatomicalheartmodels,whichtheywillbeencouragedtoexplorethroughtouch.Discussion
arounddrawingoutcomeswillbecentredonthedifferentrubricsdesignedbyJennyandDimi.Jennyisexploring
thelinksbetweendrawingandthesurgery,lookingatsharedsensoryperceptionandmotorskills.Shehasbeen
workingwithdentalandmaxillofacialsurgeons;studyingthehapticnatureofdrawingandsurgicalprocesses.Key
datahasbeenobtainedfromanalysingdrawingsandcomparingspecificskillswithoutcomesofclinicaltraining,
andworkwiththevirtuallearningsystemhapTEL.
DoesdissectionchangewhatmedicalstudentsdrawinAnatomy?Dimisstudywasdesignedtoexploremedical
studentsunderstandingasthesessionprogresses.Studentsdrawingsfrombeforeorafterexploratory
wholebodydissectionsessionshaveanalysedforinformationalcontentandrepresentationalfeatures.This
projectprovidesanimportantopportunitytoadvancelecturersunderstandingofthedifficultiesstudentsfacing
whenlearninginthiscontext.

JennyWrightisaPhDstudentatUAL,
studyingtheroleofdrawinginmedical
practiceandhaptictechnologies.Her
researchinvolvescollaborationwithsurgeons,
dentists,medicalstudentsandscientists,
withinthefieldofsurgeryandmedical
education.Theresearchhasinformedthe
developmentofvirtuallearningsystemsas
toolsforlearningandfordatacaptureand
collection.Thishasincludedworkwiththe
EYESIophthalmicsimulatoratMoorfields
hospitalandworkatKingsCollegeDental
InstituteusingthehapTELvirtuallearning
system.JennyishonoraryartistatMoorfields
Hospitalandavisitingexamineronthe
AnatomyforArtistscourseatUCL.Shealso
teachesataselectiveacademyschoolinthe
UKandgivesworkshopstoartstudents,
medicalprofessionalsandpatients.
www.jenwrightart.com
DimitriosPanagiotopoulos
isaHigherEducationAcademyMikeBakerDoctoralAwardstudentattheLearning
SciencesResearchInstitute,UniversityofNottingham.PriortoNottingham,DimireceivedhisMSc(Distinction)in
Education,TechnologyandSocietyfromtheUniversityofBristol.Hiscurrentresearchprojectseekstoexamine
theapplicationandeffectivenessofdrawinginthecontextofassessmentinanatomyeducation.

38

WeAllDraw

Sunday,2pm,Concurrentworkshop:
DrawingGym,withMichaelNamkung

DrawingGymexplorestheintersectionofdrawingandathletics.Usingthemovementoftheirbodies,participants
combinestrenuousexercisewithtraditionaldrawinginstrumentstomakecollaborativedrawings.Indrawing
underduress,weexplorethebodyasacognitiveorgan,andlinkconceptsofattentionindrawingtoattentionin
thebodydrawingwithallthesenses.

MichaelNamkung(b.1971,Oakland,California)isamultidisciplinaryartistbasedinMiami,Florida.Drawingon
thelanguageofsportstrainingandathleticperformance,Namkungsworkexploresthesensoryexperiencesof
drawingunderphysicalstrain.Throughperformance,video,installation,andtheparticipationofothers,he
investigatesquestionsofprocess,materialityandperception,specificallyintermsoftheirrelationshiptothe
body.NamkungholdsanMFAinDrawingandPaintingfromSanFranciscoStateUniversity,wherehewas
awardedtheCollegeHood.HehasperformedandexhibitedinvenuessuchasSFMOMA,YerbaBuenaCenterfor
theArts,andHeadlandsCenterfortheArts.Honorsincludethe2010JamesRosenquistArtistinResidentin
Fargo,NorthDakota,anIndividualArtistCommissionCulturalEquityGrantfromtheSanFranciscoArts
CommissionandanInvestinginArtistsGrantfromtheCenterforCulturalInnovationin2011,andaTanne
FoundationAwardin2012.NamkungiscurrentlyAssistantProfessorofDrawingatFloridaInternational
University.

39

WeAllDraw

Sunday,2pm,Concurrentworkshop:
Collaborative,NarrativeDrawing,
withLucyLyons,PatrickLetschka&PhilippaLyon

Workingwithourcapacitiesfordescriptionandformemory,thisworkshopwillinvestigateourresponsesto
drawingasbothanarrativeprocessandaresponsetonarrative.Drawingisneverneutralorunivocalandthis
workshopwillconsciouslyusedrawingasasociallyandcollaborativelyframedprocess.Itwilldecentrethe
ocular,foregroundingtheauditory,imaginary,sensuousdimensionsofdrawingasameansofthinkingaboutand
analysingnarrative.
Buildingonobservationsandexperiencefromdrawingwithmedicalstudents,medicsandsurgeons,the
facilitatorsareinterestedintheapplicationsofthisdrawingapproachacrossarangeofdisciplines.Itrequiresno
specificlevelofcompetenceorexperienceofdrawing,astheaimistoinvestigatewhetherandhowparticular
approachestodrawingmightstimulateandextendourmoreusualmodesofthought.

LucyLyons:Artist,LecturerinDrawingResearchatCity&GuildsofLondonArtSchoolandArtistinResidenceat
BartsPathologyMuseumwhereshecoordinatesDrawingParallels,aShareAcademyprojectinpartnershipwith
UCL,UALandACE.Thisresearchprojectinvestigateswaysartisticencounterswithfoetalandneonatalspecimens
canofferawaytogivethesespecimensanopportunitytoberevaluedandappreciated.Shehasalsorun
Drawing4SurgeonsworkshopsforsurgicaltraineesatBarts,DrawingPathologyforstudentsatStGeorges
MedicalSchool,andteachesvisualnotetakingforsurgeonsforonMEd.atImperialCollege.
PatrickLetschkaisseniorlecturerattheUniversityofBrightonin3DDesignandCraftandvisitinglectureratthe
RoyalCollegeofArtinJewelleryandMetal.Hisprimaryfocusisthehandmadeobjectanditssignificancewithin
liturgicalcontexts.Heisinterestedinobservationalandcommunicativedrawing.Patrickfoundedadrawing
courseformedicalstudentsandcraftstudentsin2009attheUniversityofBrighton.Thiscoursehasbecomethe
subjectofacontinuingresearchprojectwithcoresearchersDrTAinsworthandDrPLyon,examiningtherole
andpotentiallearningbenefitsofcrossdisciplinarydrawingforstudents.HeisalsoamemberoftheUniversity
ofBrightonDrawingResearchInterestGroup.
PhilippaLyonisaResearchFellowintheCollegeofArtsandHumanities,UniversityofBrighton.Followingher
PhDinSecondWorldWarpoetryandaperiodspentsupportingaHealthProfessionsresearchnetwork,she
movedintothearts.Shehasresearchedartanddesigneducationfromhistoricalandcontemporaryperspectives
andcuratedexhibitions.Hercoreresearchfocusisinthefieldofapplieddrawing,exploringtheimpactof
crossdisciplinarydrawingeducationandtheuseandvalueofthedrawingthatoccurswithinclinical
consultations.Sheisalsointerestedintheuseofdrawingasavisualresearchmethod.Sheconvenesa
crossdisciplinarydrawingresearchgroupattheUniversityofBrightonandisinterestedmorebroadlyin
facilitatingartshealthresearchcollaborationsanddevelopingconstructivemethodologiesforartshealth
projects.

40

WeAllDraw

Sunday,2pm,Concurrentworkshop:
Play,Chance,andComics,withMattFinch

Thishandsonworkshopexploressocialformsofdrawing,usinggamesandperformanceinbothphysicaland
digitalspaces.
Takingfocusawayfromdraftsmanshiptoexploretheuseofcomicsinoralstorytellingandplaybothonand
offline,thesessioninvestigateshowdrawingcanbeincorporatedintowaysofthinkingandmakingforallages,in
andoutoftraditionallearningenvironments.Participantswillmakeacollaborativebiographicalartworkusinga
3Dcomicsformat.
Norobotswillbenecromanticallyensouledduringthecourseofthissession.

MattFinch
writesandmakesfunthingsforpeopletodoinpublicplaces:
everythingfromzombiesieges
and
digitalgames
to
libraryburlesque
.
MostrecentlyhewascreativeproduceronLambethLibraries'
FunPalaces
festival,andledthepilotofthe
State
LibraryofQueensland'sonlinecomicsmaker
.
http://matthewfinch.me/about/

41

WeAllDraw

Sunday,2pm,Concurrentworkshop:
Knucklebones:Theartofmakingyourmark,withSuzetteSnyman

AgainstthebackdropoftherhythmicalbeatofAfricanmusic
(DjembeandMarimbas)thisdrawingworkshopkicksoffwith
anAfricanchildrensgameknownasknucklebonethrowing,
alsoreferredtoasdolossethrowing.Therhythmofthemusic
andtheactoftossingdolossesimultaneouslyinvolvedifferent
kinestheticsensesofthebodyandactasacatalystforaseries
ofangularandflowingdrawingmotions.Charcoalsreceptivity
tobodyandhandmovement,handpressureanditsversatility
fromsensitivetodramatic,boldmarkmaking,makesitanideal
toolforenrichingtheuniqueexperienceoffreeand
spontaneousmarkmakingduringtheworkshop.
Handmadeknucklebonestructuresordolosseareprovided
forparticipantstoperformtheplayfulritualoftossingdolosse
tostartaseriesofspontaneousmarkmaking,dotsandlines.
Thedolosseandmusicprovideanavenuetoaccessinternal
narratives(andemotion)thatthroughthedrawingprocess,

getsexternalised.Oncetheimplicitismade
explicit,drawingsprovideastartingpointfor
furthermanipulation,explorationand
dialogue.Theworkshopisaimedequallyatfirst
timedrawersandadvanceddrawers.

SuzetteSnymanisamemberofstaffattheInformationDesigndivisionattheDepartmentofVisualArtsatthe
UniversityofPretoriainSouthAfrica.SheisresponsiblefortheImagingandVisualisationsubject,acoreand
practicalsubjectfortheBAInformationDesigndegreethatisconcernedwiththefundamentalprinciplesof
drawingasamethodofinquiryandatoolforproblemsolving.Shecoordinatesthesubjectfromfirsttothird
year.Shehasbeenteachingdrawingtoundergraduatestudentsaspartofthesubjectfortwentyyears.She
providespostgraduatesupervisiontoHonoursstudents,inkeepingwiththethemeoftheroleofdrawinginthe
designprocess.Herresearchinterestisontherelationshipbetweendrawingandcognitioninimagingand
visualisationprocessesineducational,researchandcommunicationcontexts.HerMastersinInformationDesign,
Lendingahand:Aphenomenologicalexplorationoftheactofdrawing,isdueforsubmissioninOctober2015.

42

WeAllDraw

Sunday,2pm,Concurrentworkshop:
NavigatingIrreducibleHumanity(withaPencil),withThomasBosket

Thefirstphaseoftheworkshopwilladdresshowwe
think,howourbrainworksandwhatpartsofthose
activitiesaremostbeneficialtocreativity.Ourbrain
formsmeaningbymetaphorandanalogyandmost
ofourconnectionsaresimplifiedorlogicaltoserve
ourbasicdailyneeds.Theydonotserveourcreative
minds.Entertainmentiswhatweknowaboutour
world,itisaffirming.Artischallengingandbrings
intoquestionmanyofourassumptionsandbeliefs.
Artexpandsourworld.
Inthisphasewewillformteamsandplaywith
metaphorinawordgamethatleadstomaking
drawings.Thisexerciseisusedtoexposeourbrains
naturalinclinationsandhowtoovercomethemfor
thesakeofenteringastateofoptimalcreativityand
tobringintoquestionourproclivitytosatisfice.
Inthesecondphasewewilltakesomesimpleobjects
andfilterourobservationofthemthroughthe
insightswemayhavegainedfromphaseone.The
goalistoquestionourpresumptionsandtofeedour
brainfreshunbiasedinformationsothatwemay
havethemostfertilecreativegroundtogrownew
insightstofamiliarsituations.Sectionsofmybook
thataddressperceptionandintentwillbeusedto
illuminatethisprocessinaconcretefashion.

1.

Materials/spaceneeded/numberof

participants
Anymaterials,butsimplerisbetter/Anyspace/Anynumberofpeople.
2.

Idealduration

3hours.
3.

Whotheworkshopisusuallyaimedat?(agegroup,school/gallery/communitycontext,etc.)

Peopleneedingasomedeeptimetoexplore.
4.

Intendedoutcomes

Joy.Agreatersenseofunderstandinginregardstoonesownpractice.

43

WeAllDraw

5.

6.

Stepbystepinstructionswithtiming(includingpointsfordiscussionifappropriate)
a. Sittogetherfor2minutesinsilence.
b. Pickanobjectyouwouldliketointerpretorunderstandbetter.Placeitinalocationthatis
yours.
c. Agreetosupportoneanotherandcreateaspacethatsupportsnotionsofjoynotfear.
d. Createapottoplacewrittenblurbsin.Explainthateveryonewillwriteablurbofwhatthey
wouldliketoseedoneindrawingandplaceitinthepot.Otherswillrandomlypullthese
tasksoutofthepotandperformthem,astheyseefit,indrawings.Oncedone,pleasepulla
newtaskandwriteoutanewonetoleaveinthepot.
e. Eachpersonwilldrawtheirtaskofvariousattendeeschosenobjects.Onegoalistodrawone
drawingforeveryotherpersonintheroom.Thisissharingyourinnerself.
f. Thisconcludesthefirsthalf.Inthesecondhalfhaveparticipantslookoverthedrawingsintheir
individualspacesanddrawaresponsetoalltheotherattendeesdrawingsoftheirobject.
g. Guidelines:donthurtyourselforanyoneelse.Ifyoucomeintothespaceyouagreetoworkby
theguidelines.
h. Generalsharingattheend,butleavingroomforsilencesothattheworkcanpenetrateour
minds,bodiesandsouls.

Yourreflectionsonthebiggerpicture(upto1500words).

ThisideacamefromTasksbyOliverHerring.Italsoderivedfromthelackofsittingandcontemplatingwhatwe
aredoinginaquiet,deepmanner.Thepurposeistodiscoversomethingnewinourownworkbyreflectingon
howothersseesomethingwearepassionateabout.
Thiscanbeadaptedmanyways.
Oneobstacleisthelackofunderstandingaboutcreativeversuscriticalthinking.Mostpeopleseeksome
understandingthatissimplymentalandweareaskingforadeepernonverbal,bodilyunderstanding.
OnegreatoutcomeoftheLondonversionwasmyinabilitytospeakforcedmetoteachtheworkshopinsilence.I
spokeinthefirstfewminutestosetitupandthenweallworkedinsilence...evenattheend,therewasverylittle
talkback.Peoplecametomeafterwardsandexpressedhownurturingthiswasandhowitestablisheda
strongersenseofgroup.asmanypeoplehadcomefrommanydifferentcountriesandlanguagewasabarrierto
anempatheticunderstandingofeachotherandthework.Thissilenceallowedthemtoconnectinwaysthat
wordsmaylimit.

ThomasBosketteachesatParsonstheNewSchoolandhastaughtworkshopson:ColorBots(colortheorytaught
throughbasicrobotics),andExploringPerceptionThroughInterpretation(interactivedrawingexploration).
Additionallyheteachesworkshopswithafocusonfundamentalaspectsofperception;howwesenseourworld
andtherebyinteractwithandcreatefromitswonders.ThomasstudiedpaintingatParsonsandreceivedhis
M.F.A.fromYaleUniversityin1995.AsanAssistantProfessorandCoordinatorofGeneralStudioandTimeat
ParsonshehasdevelopedtheColorTheory,TimeandDrawingcurriculatowardamoresociallyoriented
educationmodel.HeattendedthePlayaartistsresidencyin2012andwasfilmedforthePBSseriesOffBooks
TheEffectofColorsegment.Heisparticularlyproudofastudentnominatedaward:DistinguishedFaculty
MemberoftheYearatParsonsin2002.PleaseseehislatestventuresatNorthSchoolStudio.

Sunday,3.30pm,SpecialGuestperformance:
ReflectionsonThinkingthroughDrawing,withMattFreedman

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WeAllDraw

MattFreedmanisanartistandwriterandlivinginRidgewoodQueens,NewYorkCity.Recentpublicationsinclude
thegraphicmemoirRelativelyIndolentbutRelentless,publishedbySevenStoriesPressin2014.Heteachesinthe
FineArtsandVisualStudiesprogramsattheUniversityofPennsylvania.WithartistandpercussionistTimSpelios,
FreedmanhascreatedtheEndlessBrokenTimeseriesatGallery10inBushwick,Brooklyn;monthlymusic,
drawingaspokenwordperformancesthatdrawonjazz,vaudeville,improvisationaltheaterandlightningsketch
traditions.BrokenTimestoriesmeanderfromonethingtoanother,endingupfar,ornotsofar,fromwherethey
began.
AreviewofMatts
BrokenTime
performancethatisinthecurrentissueofBomb:
http://bombmagazine.org/article/2271828/mattfreedmanandtimspeliossiendlessbrokentimei

45

WeAllDraw

OngoingspecialGuestperformance:AdmittingthePossibilitiesofError,with
KirstenLavers.

Penonpapermeditationsonnotbeingperfect,makingmistakes,whatisleftbehindandsobecomespossible.
Thesedrawingsbeginwithaperfectcirclerevealingthemselvesthroughmyrepeatedattemptstoperfectlycopy
it.Drawingstakeplaceasliveperformanceforspecificsites,inconversationwithworkplaceteams,by
commissionorprivatelyinmystudio.Thenumberofcirclesdrawnandthepensorpencilsusedaredetermined
bythedrawingsmeditation.
Iwillbeworkingonadrawingthroughoutandinbetweenthesymposiumsactivitiesandwelcomeyour
participationandconversation.

Aformernurse,KirstenLaversstudiedatDartingtonCollegeofArtsgraduatingin1991subsequentlyteaching
thereonboththeVisualPerformanceandPerformanceWritingdegreecourses.Shehasbeeninvolvedina
numberofpublicartprojectsandextendedcollaborationsincludingtheZwillingeProject199296(withMelanie
Thompson)andTNWK19972007(withcrischeek).Shehasalsoworkedextensivelywithhomelesspeoplein
variouswaysmostrecentlyasfounderofFLACKasocialenterpriseinvolvinghomelesspeopleineveryaspectof
theproductionofamonthlylistingsmagazineforCambridgeUK.Sheiscurrentlyfocussingonaseriesoflive
drawingprojectsentitledAdmittingthePossibilitiesofErrormostrecentlyatPerformanceArcade2015
Wellington,NewZealand.
www.kirstenlavers.net

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