Jerwood Exhibition at Burton Gallery, Bideford.

This was a fascinating exhibition. 50 drawings selected from 3234 drawings. A big range of approaches and ideas.

I liked Heap 2013 by Hugh Gillan for its atmospheric representation of a foggy partially demolished building. He used layers of charcoal on gesso, and sandpapered and erased the charcoal and built it up again.


Figure 1. Hugh Gillan. Heap. 2013

I found some of the work obscure and reacted negatively to some of the captions in the catalogue which employed strings of abstract nouns and conveyed little meaning.

Another exhibit that caught me was Quest 2014 by Uta Feinstein. Again, charcoal, with pastel and chalk.


Figure 2. Uta Feinstein. Quest

It’s helpful for me at this early stage in my foray into drawing, to see what media has been used to create an effect. I find quite consistently, that I like charcoal and pastel rather than detailed painstaking carbon/pencil.

I really like Moment 2014 by Tricia Gillman. This is marks made on an old cardboard box with charcoal, and oil pastel.


Figure 3. Tricia Gillman. Moment 2014

It was exciting to see Megolith, by Sara Dudman, as I know her and have been to several workshops she runs to teach painting in acrylics.

Jerwood S.D

Figure 4. Dudman, S. (2014) Megolith

As I progress through the course I expect to refer to my responses to the works in this exhibition.


Figure 1. Gillan, H. (2013) Heap [Charcoal on gesso] Available at: [Accessed 23 February 2016]

Figure 2. Feinstein, U. (2014) Quest [Charcoal] Avaiable at: [Accessed 23 February 2016]

Figure 3. Gillman, T. (2014) Moment Avaiable at: [Accessed 23 February 2016]

Figure 4. Dudman, S. (2014) Megolith Avaiable at: [Accessed 23 February 2016]

Part 1 Project 1 – Feeling and Expression

Exercise 1.

Already irritated by a day of trying to set up this blog.

Decided to make first experiment “Irritated”, as didn’t need to get into the mood, already there! Sharp jagged lines, quickly made. Further irritated by noise of tool on the paper.

Next tried calm. Found this calming just through process of doing it. Marks smooth and wide and curved. soothing. Noise like the sea, gentle or a soft breeze. not concerned if marks fell off the edge of the paper, as if drifting down. Very light pressure.

Angry similar to irritated in shapes, but closer together, much firmer pressure. Scribbling with force and spite behind the gestures. Noise of tool grating, intrusive.

Joy quick sharp fleeting marks. No sooner on the page than they disappear. Short-lived, transitory. like a sparkle, almost can’t believe it was there. Light pressure sometimes, sometimes more intense but always momentary.




Re: Julie Brixey-Williams’ drawing locationotation at

I need to loosen up more in my approach to the concept of “drawing” as it seems my approach is too narrow. The work had little meaning or impact for me, until I knew how it was produced, and even then, the remoteness of the mechanism of its making gives it a quality of detachment, whilst the process feels contrived. I did not feel any emotion on looking at it. My “thinking brain” rather than my “feeling brain” became engaged in a consideration of the dancers who participated in making the work, and I wondered what, if anything, they felt whilst pirouetting. Did they feel like artists? Can they be considered as artists? If not what are they? Are they like the pen, the stick of charcoal etc.

I follow two local artists Debbie Locke and Sara Dudman who are working on a project “Flocking together”. This is a collaborative venture and entails webcam footage from sheep, the farmer, a webcam flying over a flock, a webcam attached to the sheep dog. the works are built up in layers using the webcam footage translated through a drawing machine, and drawings made by Sara directly from her observations of the animals, their behaviour and their interactions with their environment. The finished works are a composite of many different sources of data. I was going to say that the most meaningful contribution is that made by the artist Sara, who holds the paintbrush or the charcoal and makes the marks, but I think I am wrong. None of it would stand alone. It’s impact results from the process of its composition and all its composite parts.

Debbie Locke RWA and Sara Dudman: