Coleman Project Space has announced the gallery’s first annual drawing exhibition, which brings together six contemporary artists whose work repositions drawing as an expanded multidisciplinary field.
Heavenly Skeletons is a dynamic investigation of how drawing translates abstract concepts into tangible form – how it becomes a reflection of reality, a method of thought, and an intentional act of making.
The selected artists engage with drawing as a form of material thinking – spatial, physical, and reflexive. Their approaches are materially diverse, rooted in traditional mark-making as well as sculpture, time-based media, and installation. Yet all share a sensibility to drawing as a live, responsive, and often urgent creative act, driven by the larger questions the artists are exploring in their individual practices, where drawing is neither sketch nor scaffold; it is the thing itself – reconfigured, looped and performed.
Angela Eames, through her video works, Infinivids, explores drawing in direct relation to technology, be that pixel or pencil. These looping videos treat drawing as a time-based act with the potential to run endlessly. Eames uses computer technology to extend her vision and explore image-making beyond what the eye can see. Virtual space becomes a place for intuitive discovery and structural inquiry.
Positioning drawing as both a generative and receptive structure – a means of sensing, storing and responding – Kate Fahey develops a materially layered practice. Her work brings together cast organic forms, health-related and supplementary objects, and sound, proposing sculptural form as a bodily and ecological system attuned to processes of recovery, transformation and exchange.
Large-scale charcoal drawings allow Tony Fleming to revisit decades of recurring themes. Working with a raw, expressive hand, he evokes psychological urban decay – both remembered and imagined -held together by dense layers of carbon and form.
Breaking down and recomposing drawings and painted surfaces across architectural grids, Charlotte Guerard repositions painting and drawing within choreographed systems, where scale, movement, and sequencing become compositional tools. Guerard’s drawing installation is site-responsive to the front gallery space, opening up the potential for flux, play and interaction with its audience and environment.
In The Hermit’s Song, John Strutton drawings inspired by a pilgrimage to the hermitage of 5th-century Irish Saint Colman Mac Duagh, combining frottage hand drawing and digital manipulation he examines the role of place, memory and ritual through hybrid methods of sound recording time.
Sited in the Shed Space, Samuel Zealey’s vertiginous sculpture is a precarious balance of domestic objects and figurative geometry. The sculpture marks an early articulation of his interest in equilibrium, sustainability and the poetic potential of engineering and laws of physics.
Coleman Project Space, 94 Webster Road London SE16 4DF from 31st May – 29th June.
Times: Friday – Sunday 12-6pm.
Preview: 30th May 6-9pm
