History of 60 Drawings + 10 Project
In 2012, Carolyn was inspired to celebrate drawing by project managing and curating an exhibition of 60 artists’ drawings at Bankley Gallery in Levenshulme, Manchester with artist and curator Gary James Williams. Sixty artists from Manchester Studio Groups and Manchester Metropolitan University were invited to exhibit one drawing each.
Ten years on, the second iteration of the project, entitled 60 Drawings + 10, takes place at The Whitaker Museum and Art Gallery commencing 16th June and continuing to 14th August 2022.
The original curatorial theme remains the consistent thread running through all iterations of the project as is the fact that the original group of 60 artists will continue to be invited to contribute a drawing to each exhibition. Changed titles will reflect the development of the project as it takes place in different regional galleries with artists from those regions invited to exhibit. The work will always be ‘open submission’ thereby presenting a curatorial challenge and pushing at boundaries.
The project continues to evolve with questions – where can drawing be situated in an artist’s practice – does it come after, before or during – is drawing secondary or primary – is the paper or other surface just a support which is ignored or does the labeling of drawings need to stress the role of the paper and applied surfaces as much as that of the drawn marks? As the instigator of this project, Carolyn continues the search in her drawings for something which seems always to be just out of sight. These words, tentatively inscribed on this virtual screen, can only ever be a temporary trace.
Our special thanks are extended to Anne Marie Shawe and all the galleries, artists, curators and writers supporting the project.
My work is informed by evidence detection processes used in forensics and urban archaeology. A Fine Art practitioner since 1991, my drawings continue to evolve. My drawings range in size from tiny traces on sticky tape to highly detailed 150 x120 cm drawings on 500 gsm hand-made mixed-media paper. I draw with a range of different drawing materials, pulling and pushing drawn marks away from embossed scars and edges. My small sculptures are made from paint left on artists’ discarded palettes. I use syringes and stained spoons, in installations. Dust and earth are collected from significant inside and outside spaces, tracing the under/downsides of fame. Postcards from ‘lost souls’ call attention to things that remain hidden and cry out for discovery. A series of digital images and time-lapse videos are informed by the tributes left on Sylvia Plath’s grave in Heptonstall, West Yorkshire. I have exhibited in UK, Malta and Chicago and have experience of teaching, arts administration, gallery management and curating and art mentoring in the community with ex-offender artists.
Working in a multi-interdisciplinary practice, the incessant process of drawing is an essential creative element in my studio practice, where the tradition of drawing is pursued, adapted, developed and innovated. In each appropriated process in my work, the value of drawing remains fundamental in my continuing practice and integral from the first conception of ideas and observations to their concluding outcomes and media.
Based in Manchester, Gary James Williams’ work includes ‘In the requisition of the ephemeral:emerging & evolving’ (2021) and ‘In the requisition of the ephemeral: interventions’ (2019) published by Phenomena Fine Art Publishing, in collaboration with Jo Manby: ‘Constructing a narrative’ -Manchester Metropolitan University Special Collections (2018) and ‘Pursuing the narrative’ -Bankley Gallery, Manchester (2011), ‘Legacy’ –alumni group show, Manchester School of Art, MMU 2017 and the Arts Council England funded solo NL/UK Touring Exhibition: ‘In Transcience -incidents & interventions…,’ 2007-2009: Gallery Oldham, Oldham, UK (2009), Yorkshire Artspace, Sheffield, UK (2008), Galerie Forma Aktua, Groningen, NL (2007).