Pit, 2013 (from Model Series).
Drawings from Model Series are shown in L'ebauche du temps, Maison des Arts, Grand Quevilly, France.
The V&A: British Drawings:1600 to the Present Day. October 5th, 2013 - April 13th, 2014. Rooms 88A and 90. Site Edit VII, 2009 (from Regeneration), features in this exhibition and also the accompanying book by Susan Owens -The Art of Drawing: British Masters and Methods since 1600, V&A Publishing, ISBN 9781851777587.
The Fitzwilliam Museum, Cambridge, has acquired a bespoke edition of the photogram work, Evidence of Doubt, 2011. The piece will be shown at the museum in 2015.
"For me, the most affecting drawings are those which are peculiar and lucid (....) In this selection one finds such distinct 'handwriting': the very built up coloured dots and clear script in Alison Turnbull's chart, the muted drifts within passges by David Musgrave, Don Brown, Emma McNally, George Shaw, Jane Dixon or Alison Wilding, all of whom think with shading, razor cuts, frottage, transparencies and employ techniques that deliberately lose their eloquence in reproduction."Catherine Lampert, 2009 (extract from the catalogue essay for In Between the Lines: Recent British Drawings, Trinity Contemporary, London.)
"What interests me is that you are able to produce images that appear calm out of such intensity or violence, yet that remain threatening. It is that sense of vulnerability combined with a troubling vitality that is fascinatng because so fragile, as if you have caught a moment of tension or poise between two such opposing states."
Simon Groom in conversation with Jane Dixon for the catalogue to accompany the exhibition 'Solid Sate: reflections upon the real' which she exhibited in and curated for Kettles' Yard, Cambridge in 2001.
"Her work is about vulnerability. It is about the human body, although the body is almost never present. It adresses the fears and sensations that the body engenders and arouses. Her paintings map the extent of our fragility and articulate the sensation of containment within fallible, organic, imperfect bodies. They speak eloquently of simple but important truths: of our need to hide our failings, to protect our weakness: they negotiate fundamental human paranoias - medical invasion, decrepitude, the threat of violence - and our fear of what is inevitable."
Ben Tufnell, curator at Tate Britain (taken from Under False Colours, 2004)
Catalogues and publications available:
The Art of Drawing: British Masters and Methods since 1600, by Susan Owens. Published by V&A Publishing, 2013. This book considers the distinctive characteristics of British drawing's masters and methods, from Medieval draughtsmanship to contemporary practice, examples are taken from the V&A collections.
Out of Rubble, by Susanne Slavick. Published by CHARTA in 2011, A survey of international artists including Julie Mehretu, Simon Norfolk, Cornelia Parker, Anselm Kiefer, Liu Bolin, Xu Bing and Wafaa Bilal, all of whom react to the wake of war in their work. The book includes two works from Regeneration - Tokyo 2, 2008 and Regeneration III (Yokohama) 2006. ISBN 978-88-8158-810-7
Regeneration - an illustrated programme for the exhibition of works on paper which took place in January/February 2008 is available from Tokyo Gallery +BTAP. Contact via firstname.lastname@example.org or www.tokyo-gallery.com
A fully illustrated catalogue for In Between the Lines: Recent British Drawings is available to download from www.trinitycontemporary.com or contact the gallery.
Under False Colours Published by Djanogly Art Gallery, Nottingham, with essay by Ben Tufnell, text is in both English and Japanese. ISBN 1 900809 21 4
Parallel Objects Published by Kettle's
Yard, Castle Street, Cambridge CB3 OAQ
Solid State Published by Kettle's
Yard, Telephone - 01223 352124