DRAWING CHALLENGE III
Jason McCoy Gallery is pleased to present a selection of submissions that we received in answer to our Drawing Challenge III, which was announced on April 22nd, 2020. The below artworks were prompted in response to the following excerpt from T.S. Eliot’s (1888-1965) poem "The Hollow Men, Part V" (1925). We would like to thank Mary Hrbacek for sharing this poem with us.
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long
Susan Schwalb, Convergence #12, 2017, silverpoint on ivory Plike paper, 9 x 9 inches
“My primary medium for over 40 years has been the Renaissance technique of silverpoint and metalpoint drawing. I have been working within a square format almost exclusively since 1997. Juxtaposing a wide variety of metals (silver, gold, brass, copper, platinum, pewter, bronze and aluminum) I obtain soft shifts of tone and color. Diagonal lines in the work "Convergence #12" forms the basic structure of my drawing and serves as a spatial context for irregular events on the surface.”
Susan Schwalb, 2020
www.susanschwalb.com
Christopher Orchard, Hobby Horse (dada), 2007, charcoal on paper, 42 1/2 x 65 inches
"This work is part of a collection that I developed by using the Bald Avatar as an actor in a continuing argument about the nostalgia of the "Avantgarde". The explorer is gazing backwards while his double enacts a kind of Mother Courage by pulling him forward..."
- Christopher Orchard, 2020
www.christopherorchardartist.com.au
Gelah Penn, Stele #9, 2019, polyester mesh, lenticular plastic, plastic garbage bags, plastic mesh, silicone tubing, staples, Styrofoam ball, Velcro, eyelets, T-pins, 90 x 49 x 30 inches
“Near the end of Edgar G. Ulmer's 1945 film noir Detour, its beleaguered and traumatized main character muses, "That's life -- whichever way you turn, fate sticks out a foot to trip you." For me, this response is a literate, straightforward and darkly funny take on tragedy. In my monumental drawing "Stele #9," made from simple synthetic materials and constructed through cutting, layering, tearing, stapling, and stretching, I try to conjure perceptual and psychological depth with a similar directness and humor. The process of manipulating and juxtaposing fragments of stuff to illuminate and obscure various geometires, gestures and visual incidents is a small way I’m finding solace in what can often feel like an unraveling world.“
- Gelah Penn, 2020
www.gelahpenn.com
Cheryl Goldsleger, Clarion, watercolor study, 2019, watercolor and graphite on Somerset Velvet paper, 20 x 20 inches
“'Clarion, watercolor study' refers to unheard sounds that echo and reverberate around us. It alludes to traces, shadows and invisible things that affect and challenge all of us. By juxtaposing fluid and rigid, dark and light, order and disorder, I am striving to reflect on differences and on varied points of view; and in doing so, I invite viewers to imagine what might be in between.”
- Cheryl Goldsleger, 2020
www.cherylgoldsleger.com
Deanna Sirlin, Upon, 2020, acrylic on vellum, 8 x 7 inches
www.deannasirlin.com
Julie Shapiro, Late Spring, 2020, graphite on carborundum aquatint, 30 x 20 inches
www.julieshapiroart.com
Carol Salmanson, Light Spill 4, 2020, LEDs, reflective sheeting, paint, plexi, 38 x 38 x 7 1/2 inches
www.carolsalmanson.com
Tara Mahapatra, The Gap, 2020, ink on paper, 28 x 39 inches
"To me, when composing a drawing, there is the world of rational ordering of shapes, lines, and geometrical planes. Then there is the wild creative process which is disorderly, chaotic, and mysterious. Between the two poles, there is an even more enigmatic gap that somehow, sometimes succeeds in making a drawing hang together."
Ellen Hackl Fagan, Breughel's Landscape, 2004, ink, linseed oil, acrylic on clay board panel, 10 x 8 inches
www.ehfaganstudio.com
Robert G. Edelman, Central Park Amble, 2020, ink, pastel, chalk, graphite on paper, 14 x 17 inches
www.robertgedelman.com
Asuka Hishiki, Butterfly Tree, 2017-2020, watercolor, gesso on Japanese paper
www.greenasas.com
Ulrika Strömbäck, Summer Hits #2, 2019. ceramic, 10 x 7 inches
www.ulrikastromback.com
Gerhard Lang, The Process of Seeing Clouds, Herrischried, Black Forest, Germany, 20 July 2019, Visus Signatus (the drawn process of seeing) drawing, pastel and rain with thunder on paper, 51 x 90 inches
"I can see clouds but I can't see my own seeing process. Visus Signatus makes parts of this process visible. "
www.gerhardlang.com
Friederike Oeser, Cut-Out Grosse Reise, aluminum panels, screen printing, lacquer, mirror foil, 18 x 20 x 6 inches
www.friederike-oeser.de
Kamilla Talbot, Inland Sea 69, 2020, watercolor and screenprint on paper, 11 1/2 x 15 inches
www.kamillatalbot.com
Nathaniel Galka, a curious thing..., 2020, oil on marble plastered panel with gold leaf, 32 x 40 inches
www.nathanielgalka.com
Alicia Rothman, Dots and dashes, 2019, oil on panel with hand made stencils, 8 x 10 inches
www.aliciarothman.com
Kylie Heidenheimer, TIN, 2018, gouache on khadi, 18 x 18 inches
www.kylieheidenheimer.com
Ute Hoffritz, My Last Shirt, 2019, terracotta, 17 x 12 1/2 x 9 inches
www.ute-hoffritz.de
Susan Moss, Colorsphere 3 (Study), 2019, oil and oil crayon on paper, 50 x 38 inches
www.susanhmoss.com