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Drawing 2015 at Oriel Myrddin

June 26, 2015

Drawing 2015 at Oriel Myrddin showcased a wide variety of talent, taking in diverse drawing practices in a range of media and approaches. Walking into the room, one is drawn immediately by Anne-Mie Melis’ large, colourful, diagrammatic drawing. It speaks of careful analysis and deliberation. The drawings, based on nature, form a unique synthesis of up-to-date ideas about drawing.

On the wall in front of you, Julia Griffiths’ pictures are sinuous and powerful, yet somehow delicately observed. The artist uses wire to make work that is somewhere between sculpture and drawing, straddling the line effortlessly.

Moving along, Helen Booth’s sparse, terse drawings are particularly efficient somehow. The geometric lines speak of a visual language that is carefully distilled from observed phenomena.

Robert McPartland’s intimate, somehow homely drawings are well-observed in a different, less reductive way. There is something hugely appealing about the way they draw the eye.

Anna Barratt’s ethereal yet approachable drawings contain somehow a sense of longing. She makes drawings on graph paper using felt tip pens and other seemingly childlike materials. The cut through the paper onto paper below is particularly effective. These images have somehow a hallucinatory feel to them, a certain nearly manic energy that speaks of thoughts just below the conscious level.

Stephanie Tuckwell’s loose, immediate works are drawings of a very special pedigree. Her work is about, simply, materials. One feels that many of the features of her drawings are selected accidents- serendipitous features that are slowly coaxed into the service of the amalgamated whole.

All in all, the work here was both thoughtful and revelatory, showing drawings that probe beyond the seen world, becoming drawings of the mind. There was no waste here- an efficient, terse exhibition that showed absolutely contemporary and fresh work.

Unfortunately, the exhibition closes tomorrow. Details here:


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