‘Drawing Towards Sound’ consists of ongoing research integrating drawing, curation, writing, music, and performance practice. It includes: the exhibition ‘Drawing Towards Sound, Visualizing the Sonic’, 2015 at Stephen Lawrence Gallery and Project Space, University of Greenwich; ‘Drawing Towards Sound’ 2020, book chapter in The Companion to Contemporary Drawing, Wiley Blackwell 2020.
- Submitting institution
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Anglia Ruskin University Higher Education Corporation
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 903
- Type
- M - Exhibition
- Venue(s)
- Stephen Lawrence Gallery and Project Space, University of Greenwich
- Open access status
- -
- Month of first exhibition
- -
- Year of first exhibition
- 2015
- URL
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https://figshare.com/s/6de3eb3df14b234723db
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
-
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Drawing Towards Sound consists of ongoing research integrating drawing, curation, writing, music, and performance practice. Research questions included: How do artists and composers utilize the graphic visualization of sound, scoring and notation? How does this inform artists’ and composers’ practice today? How do we view the experimental notations of the 1960s and 70s? Does this visualizing of sound (both as new forms of notation/creative response/moving image) create new forms of knowledge in the expanded field of drawing? How can the curatorial approach of the exhibition format echo its content?
The Greenwich exhibition showed work of over 40 artists and composers; and invited numerous contemporary sound and video artists including Aura Satz, Jennifer Walshe, Helen Petts, Anton Lukoszevieze, Joan Key, Alvin Curran, James Brooks, to
examine their responses to sound and notation. This original line of enquiry encouraged the use of the exhibition context as
a creative platform: I used Boulez’s idea of the Labyrinth. This meant that the exhibition space was flexibly conceived as an
active space, allowing exploration of contemporary scores and artworks; the investigation of artists’ moving image provided
a unique thread – as a form of notation, documentation, or autonomous audio-visual realization. The related publication
looked at the intertwining of drawing, diagrams and notation through the work of theorists/composers such as Attali,
Boulez, Cage, Cardew, Ingold, Goodman, and contemporary artists such as Trisha Donnelly, Christine Sum Kim. Specific
research was undertaken into the drawings of cross-disciplinary artists/musicians Anton Lukoszevieze and Halveig
Augustdottir.
Through the exhibitions and publication, the research has been well received. Peer appreciation is evidenced by reviews
including: Greenwich, reviewed in the Wire magazine, The APT exhibition in Art Monthly. In 2020 I was invited to the
judging panel of the Franco Evangelisti prize in Rome which was an international call for new notation/video scores.
- Author contribution statement
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- Non-English
- No
- English abstract
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