Private View, Friday 19th September 7-9pm
The exhibition is open seven days a week from 20th September continuing until 31st December, 8am – 8pm.
Make Your Mark is a contemporary drawing exhibition running alongside the world’s biggest drawing festival ‘The Big Draw’. Blue Owl is showing a wide variety of work demonstrating how artists interpret drawing in their individual style. Come and visit, see drawings ranging from the realistic to the abstract in style. All the work on display is for sale and offers a unique opportunity for you to purchase original art. Three of the artists are available for portrait commission work, see examples of their work at the gallery and order ready for the perfect Christmas present!!
Selected artists exhibiting are Steve Dargavel, Amir Ghazi-Noory Linda Hollaway, Barbara Karn, Carolyn Roberts, Mary Romer, Kate Robotham and Sam Smith.
Whether on site or in his Lincolnshire studio the artist is drawn to all realms of human activity which he seeks to capture in 2d and 3d form. Using the mediums of drawing, painting, sculpture and film it is unconscious expression, stance and movement which interest him. Artisans whose unique tasks inform their body narrative provide a rich source of material for the artist but so too does the simple intimacy of a child leading a pony or reading a book.
The artist employs these observations in his burgeoning public art portfolio, from the “Running Man” murals in Derbyshire to “Belle” a life sized sculpture of a 1930`s bather for Cleethorpes Lido. The artist is currently commissioned by Yorkshire Textiles for a series of life drawings of a master weaver at work in Leeds and Bradford.
Amir Ghazi-Noory is a fine artist based in Nottingham (UK). He graduated with a masters degree in fine art in 2013. His work is influenced by modern day anxiety and his feeling of vulnerability.
In most of the work he has produced to date he explores the mascot self as the sign, which forms the embodiment of his anxieties and vulnerabilities. The work he makes functions as his commentary to this.
His practice and contextual work involves working with found/re-used objects, sculpture, installations, drawings and self-taught animations, which enrich a body of humorous visual anxiety influenced works.
equality noun the state of having the same rights, opportunities, or advantages as others.
Regular reports in the media of violence to women and girls indicate the value given to females in many countries of the world. Using hair as metaphor, my practice investigates the status of women in contemporary societies in social and domestic contexts. The work explores both vulnerability and the rebuilding of lives following trauma.
When researching a difficult subject I find it necessary to periodically distance myself from the stress and to work with an internalized understanding. Alternating making with drawing allows me to find a balance.
While drawing could appear to be a facilitator in developing my ideas for installation, the truth is somewhat different. Drawing is an integral part of my work and is often the work itself, whether a finished work on paper or a cut plait of hair lying on a plinth, or a felted hair-ball on the floor.
Working directly from my subject is important, as character and movement can be drawn from the process. Covering a wide range of subject matter, drawing is always an essential element. Often the drawing made in front of the subject becomes the final piece as it contains the event and flavour of the moment. When making works in the studio my aim is to create character and a sense of life on the page.
Carolyn J Roberts is a Fine Art graduate from Loughborough University. She has exhibited in the UK and is currently based in Leicestershire.
Although her recent work consists mainly of site-specific installations, drawing is the cornerstone of her practice. ‘Drawing is my way of visualizing the world around me. It is fundamental in the translation of my ideas, integral to my thinking, experimenting, playing and making. Drawing, for me, is the most accessible form of communication.’
This latest body of work for The Big Draw event has been influenced by The National Forest, a place she visits regularly for inspiration and contemplation.
Kate Robotham is a recent Fine Art graduate from Loughborough University. She has exhibited throughout the UK and abroad, and is currently based in Loughborough, where she works as an artist and painting tutor and part-time student worker for Open Heaven Church. Her interests as an artist lie within the cross-over between nature, colour, painting, drawing and seeking to express the beauty of nature through the medium of pen and paint.
MARY ROMER GREENFIELD
There are several strategies at work within my drawings. Although essentially abstract there are representational forms within the composition with lines linking the spaces and forms together in a unifying whole. The drawings exhibited here are part of an ongoing series inspired by the sensations evoked by photographs and letters received from my brother and friends during the 1970s, and everyday but significant objects such as jugs and bowls. These diverse elements such as letters and objects, are for me like “holding pens”, where a thought or memory is contained. The use of place and memory is inherent in my practice.
Charcoal and oil pastel helps me create the effect of space receding and advancing on the surface…….akin to memories which form and dissolve in the mind’s eye.
As an artist I have developed an interest in drawing with the most simple of artistic materials – pencil. By exploring depth and texture, I attempt to recreate images and photographs as a way of including the concept and meaning of the subject. The technical side of art has always amazed me, with artists having the ability to convince viewers of what does not exist through the therapeutic skill of drawing. Having always been interested in photorealism, I have adopted the technique of anamorphosis, widening the illusive qualities of the artworks. By distorting the image and altering the perspective, the drawing can be seen only in the correct perspective at the correct angle, allowing the artist to choose where the perceptual moment occurs.