Jane Grisewood

Jane Grisewood creates lots of contemporary art based on the notion of drawing and mark making but I am most interested in the performative aspect and events she puts on and collaborates with other artist on. While working across media, the line, repetition and duration are recurring themes in her work, from drawing and photography to print and performance. Drawing involves her body as a tool to mark temporal presence, where the line is a fluid open-ended process recording motion in time and space

Many of her projects focus round her subject of ‘Drawn Together’ in which she says “On specific projects we experiment with different forms of collaboration alongside considering how our individual practices converge or contrast with each other’s. For example, at the Centre for Drawing in London we integrated different media and approaches to drawing, involving the audience to create a single collaborative work”

Line Dialogues is an ongoing series of performances with artist Carali McCall that explore time, movement and the expenditure of energy. The repetitive and continuous action challenges the process of drawing and how the body experiences duration through drawing. Within this work I relate to the physical aspect of movement when making large scare marks and lines within my own work I am fascinated with the physicality and the sound that is made from the drawing material and the body of the artist creating this.

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Notes on a Table I (after John Cage) 2010 
‘Drawn Conversations’ exhibition, Coventry University (2015). The first ‘Notes on a Table’ in 2010, drawn by the four artists, was followed with a second drawing for the exhibition in Coventry five years later. Each work was of a two-hour duration, drawn on the same surface in the same space, while responding to sounds and conversations on drawing collectively in the present and over time. Within this work I am interested in the way the artist use the stimulus of conversation and interaction as the muse for this work and the resulting work is similar to that of the visual music score I have been using and creating to represent a specific time and place.

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Blind Lines, 2014, Two-hour performance drawing (with eyes closed throughout)
The audience was invited to replicate the action and sensation of drawing ‘blind’ on the gallery wall. The event explored the relationship between artist and audience, and questioned the response to live action. The interaction between audience and performer is something I am very interested in and have done much reasearch into. throughout the performance and interaction the audience becomes the artists and the line of fear between art and viewer is removed allowing safety and reassurance within the art space and work, allowing for stronger emotional connections that is only produced though performance art.

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Also in her work Mourning Lines, 2014, she create a 30-minute performance drawing with invitation to the audience to participate, once agian similar to the use of audience participation I use within my work. The large scale of her work and the way she ofter works strainght onto wall has inspired me to create the same impact within my work for the show allowing a strong presence and surrounding atmosphere to my work.

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