Analogy: Colour, Tone and Tint PDF Print E-mail

Curated by Irene Barberis


Kelly Chorpening

Jeffrey Dennis

Paul Coldwell

Wilma Tobacco

Sally Cleary

Rhett d'Costa

Phil Edwards



Kelly Chorpening

My practice is driven primarily by an interest in understanding the dynamic that exists between the landscape and people in cities, and how this is comprised of a complex range of physical and mental information. This has been explored in my work through drawing, sculpture, still image projections and animation. Wavering between abstraction and figuration, I aim to suggest a resonant and reciprocal dialogue between familiar physical spaces and the mobile trajectories of mental activity. Rather than holding to a division of interior and exterior realms, the two are seen to be thoroughly interpenetrated.

On constructed maquettes, and within real interiors, the work’s delicate architecture is achieved by layering drawn and projected lines with marks that remain from the mechanical processes of enlargement and reproduction. There are fragments of words– used for their physical and connotative qualities rather than their overtly descriptive capabilities– that refer to the noises, echoes and reverberations that pervade memory of places. Elements are dramatised to theatrical effect- so that beams of light bending across spaces can re-stage familiar, even mundane settings in extra-ordinary ways. Seen in this light, something about the intelligibility of places, indivisibly physical and psychological, can be experienced anew.


Jeffrey Dennis

*Dear team*
I am delighted to be working with you to realise a drawing for this
I would like to work with you as collaborators, and you can take full and
equal credit for the realisation of the project. It will require you to take
important decisions about how to proceed, and what direction to take. There
are no 'wrong' decisions (but there may be more or less interesting ones!).
You are the people in the physical space, and must respond to the demands of
that space. When planning my own exhibitions, I have always had to revise
those plans when I am actually standing in the space. So, in this instance,
you must do this for me. The resulting drawing will not be a transcription
of my original, but a new piece of work that springs from it.

*A list of elements to work with:*

*1.* Attached to this message is a reproduction of a drawing '*Not Valid for
Travel*' recently exhibited in London. You may print it, crop it, enlarge it
or subject it, or any part of it, to any digital or physical manipulation
that you feel is appropriate (but, I suggest, no more than five separate
This is part of what I wrote in a publication to accompany the exhibition in
which the drawing appeared:

*Drawings form part of an habitual, daily practice alongside my paintings.
Many of my recent drawings have included actual things - tickets, lists,
vouchers, envelopes etc - the kinds of ephemeral inscriptions which pass
through your hands every day. These tokens of little transactions are
subsumed in the drawings by a flux of accumulated marks. There is no prior
meaning or ordering narrative to be conveyed, but the elements are drawn
into a dance with each other that confers re-investment in what has expired,
cancelled, been redeemed or used up.*

In addition, I propose the following elements, components or processes in
what you do:

*2.* The mathematical operation: 'multiply by 12'

*3.* A single 'dry' drawing instrument/material that can be held
in/transferred by the hand (for example: pencil, oil-stick, marker pen, roll
of tape)

*4.* A single 'wet' drawing instrument/material that can be held
in/transferred by the hand (for example: paintbrush, watering can, aerosol,
wet cloth)

*5.* A photocopier or one other form of technology or machinery, old or new,
which you may select.

*6.* Something specific to your location (for example: soil; a drink; fruit
or vegetables locally produced or sold; something familiar to you from
nearby grocery or convenience stores; the waste products of a local

*7.* Please read/listen and respond to the following web link:

In addition, you may also use anything that seems to be useful from my site:

These are guidelines that my be expanded or discarded as seems necessary. I
would be delighted to receive images, video clips or notes on the progress
of your work, and if you can upload anything to youtube or any universally
accessible blog or site (I am sorry: I don't subscribe to Facebook), I will
make a link to it from my web page.

Very best of luck and huge thanks

London, July 2010



Paul Coldwell

The idea for these wall drawings came about as a result of thinking about drawing in terms of games. Games have rules and within the rules dramas or actions are performed. I particularly thought about snooker in making these drawings, in particular in the manner in which the edge of the table, the cushions, plays such a vital part of the game.

In these drawings I have set some very simple rules about when the line reaches a drawn object or the edge of the drawing. In essence the drawn objects are connected together by one single line, which bounces off either object or edge. I wanted to suggest the interconnectivity of things and the idea that once set in motion, the action could go on forever. The drawer is given the responsibility to decide when to stop the drawing, so at that point their skill and judgement will determine the final look of the drawing.