Year of Drawing at the Seawhite Studio
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 Images: Katie Sollohub, Gary Wragg & Emily Ball Dear Visitor The opening of the exhibition Drawing: Thinking on Paper this Saturday marks the launch of the Seawhite Studio’s Year of Drawing. Through exciting new short courses and within our year-long programmes, we will be celebrating and exploring the beauty and many possibilities that drawing can offer artists. We caught up with artist and tutor Simon Carter when he was teaching at the studio last month, and asked him about his approach to drawing. You can read the interview in this newsletter. Offering students opportunities to try out new approaches to drawing – new materials, new processes, new exercises – we hope to convince you how vital drawing is, how rigorous and dynamic it can be, and what a joyfully liberating activity it is to do! In this newsletter we have details of four NEW courses which will put the spotlight on drawing:
Hope to see you there! |
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The Figure: Movement and Animation – NEW!  Image: taken from "Drawing Lab 2" short course 5 days, 3 tutors, 1 amazing opportunity! Want to take your drawing to the next level? This course has it all: mixing traditional drawing materials (charcoal on paper) with film, projections, and animation; creating large studio installations which life models will move through; with guidance and inspiration from four tutors, each with their own unique approach, expertise and passion. This course is packed with ideas and is guaranteed to open your eyes to the wonderful possibilities that drawing – and animation – offers your work! For more information or to book your place, just click the course title below and follow the link to the registration page.  Image by Emily Ball
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Experiments in Observation – NEW!  Image: Simon Carter, "Saltings 1", charcoal and pastel Artist Simon Carter has a deep passion and belief in drawing and its power to make you really notice, observe and look at your subject. In this course, he invites you to develop your skills of observation through the act of drawing whilst generously sharing his own drawing practice and approach. For more information or to book your place, just click the course title below and follow the link to the registration page.
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Walking, Drawing and Writing on the South Downs – NEW!  We are part of Nature, and it is always changing around us. Moving through it, touching it and allowing the weather, light and seasons to affect us has a profound effect on our work and inspiration. Walking on the South Downs and creating both visual and written studies that capture the essential qualities and sensory experience of being in nature, this three-day short course allows you to work alongside Emily and Katie as they share their love and expertise of working ‘En plein air’. For more information or to book your place, just click the course title below and follow the link to the registration page.
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Choreography of Mark Making: working large in search of delight and rigour – New!  We’re delighted to welcome Debbie Field to the Seawhite Studio as a guest international tutor. Based in South Africa, Debbie has worked with Emily for several years now delivering paintings courses in Cape Town. For this three-day course, Debbie brings her passion for dynamic mark-making to the studio. Embracing the freedom of working large scale and making connections between physical movement and the gestures of marks – this course is all about celebrating mark-making, being in the moment and creating work that is inherently you. For more information or to book your place, just click the course title below and follow the link to the registration page.
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Simon Carter on Drawing Excerpt from studio talk given on 17/09/19 as part of his short course Breathing Life into Paint – the Sea.  How long do you spend on a drawing? Not long. A few minutes, no more than 5minutes. I’d rather do six drawings in five minutes, rather than 30 minutes on one drawing. You do the same thing again and again and it’s never quite the same. When you’re drawing out on location, do you take photographs as well? No, I don’t use them in painting. I don’t find that dynamic interaction in the photograph. For me, it’s just not there. There’s a lot of information in the photograph: all of it is things I don’t want. What drawing material do you use? I like graphite stick because you don’t have to sharpen it; you just have to peel off the cover at the top every now and then. I find a grey oil pastel quite useful, when you draw over it with graphite pencil it goes really oily and you get a dark mark. How would you describe your drawings? They’re not hugely developed drawings. They’re lines and marks, little dashes – trying to see what is in the subject. Sometimes there are little figures to give you a sense of scale. My drawings are like a linear framework, looking at how different shapes interlock. It’s giving a sense of how these elements (land and sea) are going to join together. How does the process of drawing inform your painting? What I like about the drawings is that they’re quite un self-conscious and open. You get out of your own head a little bit. You can make a drawing in response to what you’re looking at. It’s got a truthfulness, an honesty about it because you haven’t been overthinking it. I like those quick drawings because it’s a visceral response to what you’re looking at, which you can then dissect back in the studio. The drawings do not dictate what you’re going to do, they make suggestions. With the painting, you’re settling on one of those suggestions, one of those meanings. There could be 30-40 drawings of the same subject, so you’re building up a library of responses which then go into the painting. And those drawings are not all done at the beginning before then making a painting. I’m backwards and forwards between the landscape and the studio. The painting is in a dialogue with the landscape and that’s mediated through the drawings. I don’t ever stop looking at the drawings. |
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Drawing; Thinking on Paper Opening Event: Saturday 5 October, 10am-4pm Atrium Gallery, Seawhite of Brighton, Star Road Trading Estate, Partridge Green, West Sussex RH13 8RY.  Images taken from work by John Skinner, Katie Sollohub, Simon Carter, Emily Ball and Gary WraggCurated by Emily and featuring drawings by tutors of the Seawhite Studio, Drawing; Thinking on Paper is a show that celebrates the beauty and vitality of drawing. The exhibited works reveal the different function and purposes that drawings can have. Some are finished pieces whilst others are still raw; exploratory studies, revealing the artist’s search for a language of marks that resonate. They are a fascinating insight into the way each artist has unpacked, reassembled and found their image through the act of drawing. Exhibition continues until 10 January 2020. Visits by appointment only, Monday - Friday Please email This email address is being protected from spambots. You need JavaScript enabled to view it. to arrange a visit.  “It is my firm belief that, through drawing you see the world better (rather than seeing the world in order to draw better). Through drawing, you take time to look, you notice the small details, the beauty, the repetitions, the colours, the rhythms. You give yourself time, to pause, breathe, think, reflect, feel. And it feels good!” Katie Sollohub |
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| www.emilyballatseawhite.co.uk | contact | | |||
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