Saturday, March 19, 2016

Expanded drawing discussion

Gillian Lavery, Camperdown Spiral, 2016, durational wall drawing, graphite on silk

The term 'expanded' is used across art forms to express how traditional art practice has developed with fusions of media, hybridism and changing understandings of materiality, space and temporality. In Tracing Materiality the artists' diverse practices are linked by mark-making hand gestures, that is to say 'drawing'. However, these drawing processes are expanded by duration, performance and documentation into ways of recording active embodied experiences of time, space and materiality, they communicate and discover various ways of analyzing the world and visual artistic languages using both non-traditional and traditional materials.

Please join our Expanded Drawing discussion to tease out some of these ideas around expanded drawing practices and how they are present and evolving in the processes and works in the exhibition. The discussion panel will include artists Gillian Lavery, Renuka Fernando and Kath Fries, and be chaired by Megan Robson, (Assistant Curator at the Museum of Contemporary Art Australia), 2pm Sunday 20th March, at Chrissie Cotter Gallery. Followed by finissage drinks with the artists, a final viewing of the exhibition and Gillian Lavery's erasure performance. 

This event is proudly presented as part of Art Month Sydney 2016

We're looking forward to Megan Robson chairing our Expanded Drawing finissage discussion. Megan is Assistant Curator at the Museum of Contemporary Art Australia, where she recently curated the exhibitions Martu Art from the Far Western Desert, 2014 (co-curated with Anna Davis) and MCA Collection: New Acquisitions in Context, 2013. She has worked across a range of exhibitions including solo projects with Aleks Danko, Sylvie Blocher, Runa Islam, Anish Kapoor, Christian Marclay, and Annette Messager, and group exhibitions such as String Theory: Focus on contemporary Australian art, and Marking Time. She is currently working on an exhibition that explores the history of the MCA's Primavera series of exhibitions.
Previously she has worked for a number of art organisations in Australia and the UK, including the Barbican Centre, London and the Biennale of Sydney. In 2011, Megan received an Asialink grant to undertake curatorial research in Hong Kong with co-curator Joel Mu. She writes regularly on contemporary art for a range of publications and journals.