Material Project: Performance Drawing – Part 2

The second week started with another collaborative drawing project where we relaxed and followed instructions. We were instructed to draw a continuous line as slow as possible, vertical lines as fast as possible, and physically used our bodies, moving up and down the paper with our pencils.

In the next part of the session, we used ‘Oblique Strategies’ cards by Brian Eno and Peter Schmidt as inspiration for the marks we made on our paper, drawing the first thing that came to mind. The result of using the cards was very spontaneous.


We were then left to experiment with our own materials and tools we brought in, no matter how obscure. I worked with a range of materials, including clay, ink, acrylic paint, charcoal, pastels and tape. Tools I worked with included rubber gloves, my hands, paintbrushes attached to long sticks and teasing brushes. My individual performance piece was created by marking and imitating the movements of the others making their work and the sounds they made. The use of unconventional materials and tools was really interesting to work with and challenged my previously conventional ways of working.


Finally we all worked together on two large performance pieces. On the one we set a timer for 5 minutes and all walked around the paper, making marks with various materials attached to long sticks. On the other we adopted the techniques we used in our induction task, making vertical lines with our various materials for 5 minutes.


Material Project: Performance Drawing -Part 1

The Performance Drawing workshop began with the group working simultaneously on one sheet of paper, following instructions and the blow of a whistle. We started by relaxing and focusing on our breathing, and when the whistle blew we began by making dots on the page. This then progressed to us making other marks including vertical lines and circles. During the performance we were also instructed to make the marks we hated and liked the most. The one I disliked the most being the circles as I found them awkward to draw with both hands, and the mark I liked the most being the curved line as it felt natural to do. We ended up with what looked like a collection of random marks on a page.

Following on from this induction piece, we were then shown how to document our environment in a way previously unfamiliar to me. We walked around Llandaff campus making drawings focusing solely on our surroundings, not looking at the drawings we were making. My drawings were created by mirroring gestures of other students and the path I was walking., letting my body’s movement create the marks. I also reacted to the sounds I heard and emotions I felt. We continued with these drawings in Cardiff city centre, however focusing on specific activities such as the barista’s movement in Costa and our bus ride home.

Visiting back home at the weekend, I also produced live notation drawings that had a specific relevance to me. I watched and drew my mum baking, the village I lived in and Worcester high street. I also visited my old workplace, documenting not only what I experienced at the time, but also my memories and previous movements there, using 2 pens to signify past and present.

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Induction Week

To welcome us to our Fine Art course at Cardiff Metropolitan, we were introduced to the Fine Art tutors and were split into groups where we created an installation piece using the postcards from our summer work. Our installation filled the room, travelling through the blank space between walls and being suspended in the air, creating a depth out of 2D objects. The postcards were carefully positioned in an order from intense colour to a subdued palette, showing a natural flow.

My postcards both fit in the end with the subdued colour palette, one being a pastiche to British artist Ben Nicholson, and the other, a pencil drawing of an old English letterbox.

To create my pastiche, I selected ‘1945 (still life)’ by Nicholson and took elements of its composition and colour to recreate it. Adopting similar techniques to Ben Nicholson, I painted straight onto a wooden board, pulled back and reworked the paint to create layers.

I chose to draw a letterbox on my second postcard as I wanted to play on the idea of a postcard and its journey to where it ends up; therefore I decided to draw where I was posting it. Additionally I added an old stamp to increase its sense of reality as functioning post.

Summer Work

The first artwork I made for my summer task was a drawing of a collection of 10 vintage objects using graphite pencils. I chose to draw old objects I collected at car boot sales as each would have had a past behind them, creating a history within my drawing.

My second piece of artwork, I made in response to artists Philip Eglin and Joel Penkman, etching old teacups onto handmade mugs to show the contrast between norms from the past and the present.

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