As co-director of Drawing Room, an organisation that explores ideas around contemporary drawing, I constantly seek out artworks that take drawing in new directions. My selection utilises characteristics intrinsic to the medium of drawing, such as line, movement, flux and chance. The distinctive nature of drawing materials – the fluidity of ink, the scratchiness of pencil, the powdery nature of charcoal – are effectively employed to oppose the mechanistic and logical constructs of contemporary life.
In Ruyi Ling’s Loser’s Song the unpredictable outcome of feverish drawing activity expresses deep insecurity. Will Rochira’s Dwellers of the Basin builds a haunting and surreal narrative through fragmentary pencil sketches. In The Peacock in the Room, Sanjana Chandrasekhar uses fluid, abstract lines to express communication breakdown whilst Hwanyi Kim exploits the blackness of charcoal to build personal anguish in Eyes. In Thank You, a deadpan narrative, Julian Gallese has fun with the flatness of drawing which Andi Conicha uses to different ends in 2,35, which uses strict parameters to convey psychological tension between two people.
Kate Macfarlane is a curator and writer based in London who began her career in the public visual arts sector at Riverside Studios London in 1984. She co-founded Drawing Room in 2000 and since that time has co-devised the organisation’s vision and programme. Recent exhibitions include ‘A Slice through the World: Contemporary Artists’ Drawings’ at Drawing Room and Modern Art Oxford; ‘Close: Drawn Portraits’ at Drawing Room; ‘Line’ at Lisson Gallery, London, and ‘Dove Allouche - Mea Culpa of a Sceptic’, The Fondation d’entreprise Ricard, Paris.