/page/2
Layering. How do you draw a whole picture that tells a narrative, or how do you draw a picture that has parts that might read like a narrative?


With the layered drawing, I have a background that I want to build up diffferent opaque layers. Problem encontered, how does each layer physically hold itself?


Wire. Started playing with wire as a structure to hold the flimsy parts of the drawing (I’m experimenting with wax paper for opaquness, but it doens’t hold a stable state if extended). How do I hide the structure? Or how could I integrate the structure so that it becomes part of the drawing?

Cutting edges that fold behind the wire, after I glue it on. Problem: using wax paper, you can see the wire through the opaque wax paper. Possible solution, painting with guache, the paint dries quite solid and not seethrough, enabling a possibility of no see through parts.

What does it mean to cut out holes in the background (yellow image).

Layering. How do you draw a whole picture that tells a narrative, or how do you draw a picture that has parts that might read like a narrative?

Background, Samuel Overington 2013

With the layered drawing, I have a background that I want to build up diffferent opaque layers. Problem encontered, how does each layer physically hold itself?

Wire. Started playing with wire as a structure to hold the flimsy parts of the drawing (I’m experimenting with wax paper for opaquness, but it doens’t hold a stable state if extended). How do I hide the structure? Or how could I integrate the structure so that it becomes part of the drawing?

Cutting edges that fold behind the wire, after I glue it on. Problem: using wax paper, you can see the wire through the opaque wax paper. Possible solution, painting with guache, the paint dries quite solid and not seethrough, enabling a possibility of no see through parts.

What does it mean to cut out holes in the background (yellow image).

During the lab, Samuel lead some exercises exploring movement and mark making, stemming from his own practice as a drawer. The lab was presented with several points of interest which have come up from observing and drawing Contact Improv.

Beginning with a breathing exercise we explored how to connect the breath with a moveable point of focus. Bringing forth from the imagination a point which we explored how to manipulate it with the breath.

We then explored how to give properties - weight, mass and volume and explored through improvised movement how to manipulate this point around the body, beginning with inside – with the questions of how to follow lines within the body of circulation, paying particular attention to where the point physically is, and what the point was moving through – flesh, muscle, joints and bone.

Introducing weight, mass and volume as separate properties to the point, we explored how these properties could work autonomously to our own improvised movement with the following questions:


How does the movement of the point effect our movement when we increase the size of the point, but keep its weight (or mass) the same as a small point. Observation notes: this made movement look stunted or broken, like there was something keeping us from making a full gesture.


How is movement effected when we decrease the size to a very tiny point, but increase the energy of it moving within the body. Observation notes: rapid changes of direction, fidgety movement.


How is movement effected when point takes on weight, and joints take on a magnetic or sticky feel. Observation notes: swinging around the point within your body like a ball, catching it in the bottom of limbs. Flowing and more released movement.


What happens when point is allowed to extend outside the body, increasing in mass, but not size. This also introduced the interaction of people, through observation, becoming aware of other peoples revolving points.


We then explored this theme of a point with properties in a new exercise, exploring the passing or throwing of the point between partners – as if the point was an imaginary ball, reading from your partners experience of how big, how heavy, the point is, as well as how much energy the point was given in throwing, and catching accordingly. Observation notes: people introduced a real ball to simulate what it was like, and then played with real and non real.



In another experiment, we explored through non-visual experience, how gesture and movement can be ‘experienced’ and recreated. Assembling into pairs, one person closed their eyes and touched the other person – watching or experiencing the other persons movement, as they made a simple gesture, which the person with their eyes closed would then have to replicate with their own bodies the gesture as best they had just experienced. Observation notes: often people though that it was easier to keep their eyes closed in order to recreate the movement.

We then tried this in a large group, passing the gesture around everyone, and then watched the evolution of the movement at the end.



The last part of the lab was left pen for people t explore the relationship of physical line and movement, where we set out a large piece of paper and some chalks, and split the group into two. The first group became the movers and the second the drawers. The movers explored again how a point with various properties would effect their movement (heavy, light, big, small, sticky, slippery… etc) and the drawers explored how to follow the this point with a line made by drawing chalk on the large piece of paper. The group then swapped after five minutes so everyone got a go which then led into our own exploration of the materials.

Observation notes and comments from the end:


There was a difficulty in understanding the terminology that I was using, which led to a difficulty understanding what I meant by point, and how it could effect our movement.


It was interesting when left at the end, figuring out and playing with movement of being a drawer, questioning weather the drawer was recreating someone else’s movement


Interestingly – discussion whilst eating turned to photography and the use of peoples faces, and what they felt appropriate within the context of certain environments. I have had little or no questioning whilst drawing.



Check out my facebook page for the ful album of photographs of the works https://www.facebook.com/media/set/?set=a.533307486719309.1073741825.255178384532222&type=1

During the lab, Samuel lead some exercises exploring movement and mark making, stemming from his own practice as a drawer. The lab was presented with several points of interest which have come up from observing and drawing Contact Improv.

Beginning with a breathing exercise we explored how to connect the breath with a moveable point of focus. Bringing forth from the imagination a point which we explored how to manipulate it with the breath.

We then explored how to give properties - weight, mass and volume and explored through improvised movement how to manipulate this point around the body, beginning with inside – with the questions of how to follow lines within the body of circulation, paying particular attention to where the point physically is, and what the point was moving through – flesh, muscle, joints and bone.

Introducing weight, mass and volume as separate properties to the point, we explored how these properties could work autonomously to our own improvised movement with the following questions:

  • How does the movement of the point effect our movement when we increase the size of the point, but keep its weight (or mass) the same as a small point. Observation notes: this made movement look stunted or broken, like there was something keeping us from making a full gesture.

  • How is movement effected when we decrease the size to a very tiny point, but increase the energy of it moving within the body. Observation notes: rapid changes of direction, fidgety movement.

  • How is movement effected when point takes on weight, and joints take on a magnetic or sticky feel. Observation notes: swinging around the point within your body like a ball, catching it in the bottom of limbs. Flowing and more released movement.

  • What happens when point is allowed to extend outside the body, increasing in mass, but not size. This also introduced the interaction of people, through observation, becoming aware of other peoples revolving points.

We then explored this theme of a point with properties in a new exercise, exploring the passing or throwing of the point between partners – as if the point was an imaginary ball, reading from your partners experience of how big, how heavy, the point is, as well as how much energy the point was given in throwing, and catching accordingly. Observation notes: people introduced a real ball to simulate what it was like, and then played with real and non real.



In another experiment, we explored through non-visual experience, how gesture and movement can be ‘experienced’ and recreated. Assembling into pairs, one person closed their eyes and touched the other person – watching or experiencing the other persons movement, as they made a simple gesture, which the person with their eyes closed would then have to replicate with their own bodies the gesture as best they had just experienced. Observation notes: often people though that it was easier to keep their eyes closed in order to recreate the movement.

We then tried this in a large group, passing the gesture around everyone, and then watched the evolution of the movement at the end.



The last part of the lab was left pen for people t explore the relationship of physical line and movement, where we set out a large piece of paper and some chalks, and split the group into two. The first group became the movers and the second the drawers. The movers explored again how a point with various properties would effect their movement (heavy, light, big, small, sticky, slippery… etc) and the drawers explored how to follow the this point with a line made by drawing chalk on the large piece of paper. The group then swapped after five minutes so everyone got a go which then led into our own exploration of the materials.

Observation notes and comments from the end:

  • There was a difficulty in understanding the terminology that I was using, which led to a difficulty understanding what I meant by point, and how it could effect our movement.

  • It was interesting when left at the end, figuring out and playing with movement of being a drawer, questioning weather the drawer was recreating someone else’s movement

  • Interestingly – discussion whilst eating turned to photography and the use of peoples faces, and what they felt appropriate within the context of certain environments. I have had little or no questioning whilst drawing.



Check out my facebook page for the ful album of photographs of the works https://www.facebook.com/media/set/?set=a.533307486719309.1073741825.255178384532222&type=1

I’ve been interested in working out what makes something recognisable; how something passes from random mess into the realm of recognition. From a large mesh of lines within my drawings, I realise that certain parts are recognisably human figure like… What makes that so?In an effort to single this out, I have begun excavating some of the figures and playing with placing them at different levels and layers - also how to raise background away from the the wall. I got interested in what types of material produce different lighting elements with transparency, and translucency.

I’ve been interested in working out what makes something recognisable; how something passes from random mess into the realm of recognition. From a large mesh of lines within my drawings, I realise that certain parts are recognisably human figure like… What makes that so?
In an effort to single this out, I have begun excavating some of the figures and playing with placing them at different levels and layers - also how to raise background away from the the wall.

I got interested in what types of material produce different lighting elements with transparency, and translucency.

Exploring layer


Stretch and Line
A collaboration.
 Sonja Brühlmann Andrea Carr Georgiana Cavendish And Samuel Overington Working through a series of labs, we present a showing of questions about: the particulars of the costume, the relationship of choreography and improvisation the relationship of movement within point, line and space. 2:00 pm sharp, Saturday 20th April 2013 Degree Art, 12a Vyner St Bethnal Green E2 9DG To make a free booking, check out the eventbrite pagehttp://j.mp/stretchline
https://www.facebook.com/events/490432314343944/

Stretch and Line

A collaboration.

Sonja Brühlmann
Andrea Carr
Georgiana Cavendish
And Samuel Overington

Working through a series of labs, we present a showing of questions about:

the particulars of the costume,
the relationship of choreography and improvisation
the relationship of movement within point, line and space.

2:00 pm sharp, Saturday 20th April 2013
Degree Art,
12a Vyner St
Bethnal Green
E2 9DG

To make a free booking, check out the eventbrite page
http://j.mp/stretchline

https://www.facebook.com/events/490432314343944/

UNIT3: Unit 3 Projects residency at DegreeArt

unit-3:

image

24 March - 05 May

10 diverse artists from Unit 3 Projects will work with, beside, around and against one another in DegreeArt’s ‘The Execution Room’ in order to engage themselves and you in an experimental and haphazard creative conversation. Taking ‘gesture’ as its central theme, In All Directions is a celebration of possibility, exchange and risk.

The residency will see the exhibition space transformed into an artist studio with an active and engaging atmosphere. Open daily 12-6 pm for visitors to come and see work being conceived of, made and discussed.

Photo (left to right): Pamela Carr, Henry Byrne, Silvia Krupinska, Luis Ignacio Rodriguez, Jennifer Farmer, Hormazd Narielwalla, Samuel Overington and Abigail Box. (MIA: Flavius Alagrius and John Appleton)

Twitter: @DegreeArt #InAllDirections #DAresidency #Unit3Projects | Facebook: facebook.com/DegreeArt | facebook.com/Unit3Gallery | Instagram: DegreeArt Tumblr: DegreeArt.tumblr.com | Unit-3.tumblr.com | Video: Interviews | Press Release: PDF


Thu 04 Apr First Thursdays 6-9 pm
Sat 20 Apr Showing: Drawing and Contact Improvisation 2-3 pm
Sat 20 Apr “In conversation with…” : You, The Artist, Their Work, A Recording Device
Tue 23 Apr Exhibition opening with Pecka Kucha talks 6-9 pm
Sat 27 Apr Sharpen My Pencil life drawing salon with Coffee+Sponge 6:30-9 pm £8 RSVP
Sun 28 Apr Workshop: Pen Nor Paper 5-7pm £8 RSVP
Thu 02 May First Thursdays 6-9 pm
Sat 04 May But What Kind Of Art 7-9 pm

I am making a collection of short documentary films and photos about Unit 3 Projects Artists. Here is the first one to kick off the project with Silvia Krupinska
unit-3:

Silvia Krupinska
Organic Sculptor.
www.silviakrupinska.com

Unit 3 Projects introduces a short documentary series of interviews with artists in their spaces.




Check out the Album

I am making a collection of short documentary films and photos about Unit 3 Projects Artists. Here is the first one to kick off the project with Silvia Krupinska

unit-3:

Silvia Krupinska

Organic Sculptor.

www.silviakrupinska.com

Unit 3 Projects introduces a short documentary series of interviews with artists in their spaces.

Check out the Album

An edition of lino prints from my project Lingua franca. For the small price of £10.00, you could have one of your very own! check out my web store, with a few of my drawings as well.
2013 Samuel Overington

An edition of lino prints from my project Lingua franca. For the small price of £10.00, you could have one of your very own! check out my web store, with a few of my drawings as well.

2013 Samuel Overington


I ran a Contact Improvisation lab at the Unit 3 Project space, exploring movement and drawing with dancers Sonja Brühlmann, Penny Chivas, Camilla Emson, Jenny Moy, and Melody Sacco. The work was created for the first part of ‘In All Directions’ an exhibition in the project space with Abigail Box.A huge thank you to the dancers for taking part and Lidia for documenting.Samuel Overington 2013

Samuel Overington, Sonja BrühlmannCamilla Emson, Samuel OveringtonSamuel Overington

I ran a Contact Improvisation lab at the Unit 3 Project space, exploring movement and drawing with dancers Sonja Brühlmann, Penny Chivas, Camilla Emson, Jenny Moy, and Melody Sacco. The work was created for the first part of ‘In All Directions’ an exhibition in the project space with Abigail Box.

A huge thank you to the dancers for taking part and Lidia for documenting.

Samuel Overington 2013

An edition of lino prints from my project Lingua franca. For the small price of £10.00, you could have one of your very own! check out my web store, with a few of my drawings as well.
2013 Samuel Overington

An edition of lino prints from my project Lingua franca. For the small price of £10.00, you could have one of your very own! check out my web store, with a few of my drawings as well.

2013 Samuel Overington

Pics and It Didn’t Happen

mossfull:

There’s always tension between experience-for-itself and experience-for-documentation, but social media have brought that strain to its breaking point. Temporary photography is in part a response to social-media users’ feeling saddled with the distraction of documentary vision. It rejects the burden of creating durable proof that you are here and you did that. And because temporary photographs are not made to be collected or archived, they are elusive, resisting other museal gestures of systemization and taxonomization, the modern impulse to classify life according to rubrics. By leaving the present where you found it, temporary photographs feel more like life and less like its collection.

The photograph, for all its promised immortality, always hinted at death. This was central to Roland Barthes’s analysis in Camera Lucida, that the enduring image “produces Death while trying to preserve life.” Documenting the present as a future past, as conventional photographs do, asserts the facts of change, impermanence, and mortality. The temporary photograph does the opposite: It interrupts the traditional photographic fixation of the present as impending history by positing a present moment that’s not concerned with the past or the future. As such, the temporary photograph is necessarily less sentimental and nostalgic. By being quick, the temporary photograph is a tiny protest against time.

Nathan Jurgenson for The New Inquiry

Some images from my the drawing that I have been reworking, that I created along with dancers Sonja Brülmann and Melody Sacco, from the drawing and contact improvisation performance with . Come down this weekend to the Unit 3 Project space and check it out - we are open Saturday and Sunday from 12 - 4.

I’ve been reworking the drawing that was created during the opening night performance of my exhibition ‘In All Directions’ at the Unit 3 project space.

I’ve been reworking the drawing that was created during the opening night performance of my exhibition ‘In All Directions’ at the Unit 3 project space.

Layering. How do you draw a whole picture that tells a narrative, or how do you draw a picture that has parts that might read like a narrative?


With the layered drawing, I have a background that I want to build up diffferent opaque layers. Problem encontered, how does each layer physically hold itself?


Wire. Started playing with wire as a structure to hold the flimsy parts of the drawing (I’m experimenting with wax paper for opaquness, but it doens’t hold a stable state if extended). How do I hide the structure? Or how could I integrate the structure so that it becomes part of the drawing?

Cutting edges that fold behind the wire, after I glue it on. Problem: using wax paper, you can see the wire through the opaque wax paper. Possible solution, painting with guache, the paint dries quite solid and not seethrough, enabling a possibility of no see through parts.

What does it mean to cut out holes in the background (yellow image).

Layering. How do you draw a whole picture that tells a narrative, or how do you draw a picture that has parts that might read like a narrative?

Background, Samuel Overington 2013

With the layered drawing, I have a background that I want to build up diffferent opaque layers. Problem encontered, how does each layer physically hold itself?

Wire. Started playing with wire as a structure to hold the flimsy parts of the drawing (I’m experimenting with wax paper for opaquness, but it doens’t hold a stable state if extended). How do I hide the structure? Or how could I integrate the structure so that it becomes part of the drawing?

Cutting edges that fold behind the wire, after I glue it on. Problem: using wax paper, you can see the wire through the opaque wax paper. Possible solution, painting with guache, the paint dries quite solid and not seethrough, enabling a possibility of no see through parts.

What does it mean to cut out holes in the background (yellow image).

During the lab, Samuel lead some exercises exploring movement and mark making, stemming from his own practice as a drawer. The lab was presented with several points of interest which have come up from observing and drawing Contact Improv.

Beginning with a breathing exercise we explored how to connect the breath with a moveable point of focus. Bringing forth from the imagination a point which we explored how to manipulate it with the breath.

We then explored how to give properties - weight, mass and volume and explored through improvised movement how to manipulate this point around the body, beginning with inside – with the questions of how to follow lines within the body of circulation, paying particular attention to where the point physically is, and what the point was moving through – flesh, muscle, joints and bone.

Introducing weight, mass and volume as separate properties to the point, we explored how these properties could work autonomously to our own improvised movement with the following questions:


How does the movement of the point effect our movement when we increase the size of the point, but keep its weight (or mass) the same as a small point. Observation notes: this made movement look stunted or broken, like there was something keeping us from making a full gesture.


How is movement effected when we decrease the size to a very tiny point, but increase the energy of it moving within the body. Observation notes: rapid changes of direction, fidgety movement.


How is movement effected when point takes on weight, and joints take on a magnetic or sticky feel. Observation notes: swinging around the point within your body like a ball, catching it in the bottom of limbs. Flowing and more released movement.


What happens when point is allowed to extend outside the body, increasing in mass, but not size. This also introduced the interaction of people, through observation, becoming aware of other peoples revolving points.


We then explored this theme of a point with properties in a new exercise, exploring the passing or throwing of the point between partners – as if the point was an imaginary ball, reading from your partners experience of how big, how heavy, the point is, as well as how much energy the point was given in throwing, and catching accordingly. Observation notes: people introduced a real ball to simulate what it was like, and then played with real and non real.



In another experiment, we explored through non-visual experience, how gesture and movement can be ‘experienced’ and recreated. Assembling into pairs, one person closed their eyes and touched the other person – watching or experiencing the other persons movement, as they made a simple gesture, which the person with their eyes closed would then have to replicate with their own bodies the gesture as best they had just experienced. Observation notes: often people though that it was easier to keep their eyes closed in order to recreate the movement.

We then tried this in a large group, passing the gesture around everyone, and then watched the evolution of the movement at the end.



The last part of the lab was left pen for people t explore the relationship of physical line and movement, where we set out a large piece of paper and some chalks, and split the group into two. The first group became the movers and the second the drawers. The movers explored again how a point with various properties would effect their movement (heavy, light, big, small, sticky, slippery… etc) and the drawers explored how to follow the this point with a line made by drawing chalk on the large piece of paper. The group then swapped after five minutes so everyone got a go which then led into our own exploration of the materials.

Observation notes and comments from the end:


There was a difficulty in understanding the terminology that I was using, which led to a difficulty understanding what I meant by point, and how it could effect our movement.


It was interesting when left at the end, figuring out and playing with movement of being a drawer, questioning weather the drawer was recreating someone else’s movement


Interestingly – discussion whilst eating turned to photography and the use of peoples faces, and what they felt appropriate within the context of certain environments. I have had little or no questioning whilst drawing.



Check out my facebook page for the ful album of photographs of the works https://www.facebook.com/media/set/?set=a.533307486719309.1073741825.255178384532222&type=1

During the lab, Samuel lead some exercises exploring movement and mark making, stemming from his own practice as a drawer. The lab was presented with several points of interest which have come up from observing and drawing Contact Improv.

Beginning with a breathing exercise we explored how to connect the breath with a moveable point of focus. Bringing forth from the imagination a point which we explored how to manipulate it with the breath.

We then explored how to give properties - weight, mass and volume and explored through improvised movement how to manipulate this point around the body, beginning with inside – with the questions of how to follow lines within the body of circulation, paying particular attention to where the point physically is, and what the point was moving through – flesh, muscle, joints and bone.

Introducing weight, mass and volume as separate properties to the point, we explored how these properties could work autonomously to our own improvised movement with the following questions:

  • How does the movement of the point effect our movement when we increase the size of the point, but keep its weight (or mass) the same as a small point. Observation notes: this made movement look stunted or broken, like there was something keeping us from making a full gesture.

  • How is movement effected when we decrease the size to a very tiny point, but increase the energy of it moving within the body. Observation notes: rapid changes of direction, fidgety movement.

  • How is movement effected when point takes on weight, and joints take on a magnetic or sticky feel. Observation notes: swinging around the point within your body like a ball, catching it in the bottom of limbs. Flowing and more released movement.

  • What happens when point is allowed to extend outside the body, increasing in mass, but not size. This also introduced the interaction of people, through observation, becoming aware of other peoples revolving points.

We then explored this theme of a point with properties in a new exercise, exploring the passing or throwing of the point between partners – as if the point was an imaginary ball, reading from your partners experience of how big, how heavy, the point is, as well as how much energy the point was given in throwing, and catching accordingly. Observation notes: people introduced a real ball to simulate what it was like, and then played with real and non real.



In another experiment, we explored through non-visual experience, how gesture and movement can be ‘experienced’ and recreated. Assembling into pairs, one person closed their eyes and touched the other person – watching or experiencing the other persons movement, as they made a simple gesture, which the person with their eyes closed would then have to replicate with their own bodies the gesture as best they had just experienced. Observation notes: often people though that it was easier to keep their eyes closed in order to recreate the movement.

We then tried this in a large group, passing the gesture around everyone, and then watched the evolution of the movement at the end.



The last part of the lab was left pen for people t explore the relationship of physical line and movement, where we set out a large piece of paper and some chalks, and split the group into two. The first group became the movers and the second the drawers. The movers explored again how a point with various properties would effect their movement (heavy, light, big, small, sticky, slippery… etc) and the drawers explored how to follow the this point with a line made by drawing chalk on the large piece of paper. The group then swapped after five minutes so everyone got a go which then led into our own exploration of the materials.

Observation notes and comments from the end:

  • There was a difficulty in understanding the terminology that I was using, which led to a difficulty understanding what I meant by point, and how it could effect our movement.

  • It was interesting when left at the end, figuring out and playing with movement of being a drawer, questioning weather the drawer was recreating someone else’s movement

  • Interestingly – discussion whilst eating turned to photography and the use of peoples faces, and what they felt appropriate within the context of certain environments. I have had little or no questioning whilst drawing.



Check out my facebook page for the ful album of photographs of the works https://www.facebook.com/media/set/?set=a.533307486719309.1073741825.255178384532222&type=1

I’ve been interested in working out what makes something recognisable; how something passes from random mess into the realm of recognition. From a large mesh of lines within my drawings, I realise that certain parts are recognisably human figure like… What makes that so?In an effort to single this out, I have begun excavating some of the figures and playing with placing them at different levels and layers - also how to raise background away from the the wall. I got interested in what types of material produce different lighting elements with transparency, and translucency.

I’ve been interested in working out what makes something recognisable; how something passes from random mess into the realm of recognition. From a large mesh of lines within my drawings, I realise that certain parts are recognisably human figure like… What makes that so?
In an effort to single this out, I have begun excavating some of the figures and playing with placing them at different levels and layers - also how to raise background away from the the wall.

I got interested in what types of material produce different lighting elements with transparency, and translucency.

Exploring layer


Stretch and Line
A collaboration.
 Sonja Brühlmann Andrea Carr Georgiana Cavendish And Samuel Overington Working through a series of labs, we present a showing of questions about: the particulars of the costume, the relationship of choreography and improvisation the relationship of movement within point, line and space. 2:00 pm sharp, Saturday 20th April 2013 Degree Art, 12a Vyner St Bethnal Green E2 9DG To make a free booking, check out the eventbrite pagehttp://j.mp/stretchline
https://www.facebook.com/events/490432314343944/

Stretch and Line

A collaboration.

Sonja Brühlmann
Andrea Carr
Georgiana Cavendish
And Samuel Overington

Working through a series of labs, we present a showing of questions about:

the particulars of the costume,
the relationship of choreography and improvisation
the relationship of movement within point, line and space.

2:00 pm sharp, Saturday 20th April 2013
Degree Art,
12a Vyner St
Bethnal Green
E2 9DG

To make a free booking, check out the eventbrite page
http://j.mp/stretchline

https://www.facebook.com/events/490432314343944/

UNIT3: Unit 3 Projects residency at DegreeArt

unit-3:

image

24 March - 05 May

10 diverse artists from Unit 3 Projects will work with, beside, around and against one another in DegreeArt’s ‘The Execution Room’ in order to engage themselves and you in an experimental and haphazard creative conversation. Taking ‘gesture’ as its central theme, In All Directions is a celebration of possibility, exchange and risk.

The residency will see the exhibition space transformed into an artist studio with an active and engaging atmosphere. Open daily 12-6 pm for visitors to come and see work being conceived of, made and discussed.

Photo (left to right): Pamela Carr, Henry Byrne, Silvia Krupinska, Luis Ignacio Rodriguez, Jennifer Farmer, Hormazd Narielwalla, Samuel Overington and Abigail Box. (MIA: Flavius Alagrius and John Appleton)

Twitter: @DegreeArt #InAllDirections #DAresidency #Unit3Projects | Facebook: facebook.com/DegreeArt | facebook.com/Unit3Gallery | Instagram: DegreeArt Tumblr: DegreeArt.tumblr.com | Unit-3.tumblr.com | Video: Interviews | Press Release: PDF


Thu 04 Apr First Thursdays 6-9 pm
Sat 20 Apr Showing: Drawing and Contact Improvisation 2-3 pm
Sat 20 Apr “In conversation with…” : You, The Artist, Their Work, A Recording Device
Tue 23 Apr Exhibition opening with Pecka Kucha talks 6-9 pm
Sat 27 Apr Sharpen My Pencil life drawing salon with Coffee+Sponge 6:30-9 pm £8 RSVP
Sun 28 Apr Workshop: Pen Nor Paper 5-7pm £8 RSVP
Thu 02 May First Thursdays 6-9 pm
Sat 04 May But What Kind Of Art 7-9 pm

I am making a collection of short documentary films and photos about Unit 3 Projects Artists. Here is the first one to kick off the project with Silvia Krupinska
unit-3:

Silvia Krupinska
Organic Sculptor.
www.silviakrupinska.com

Unit 3 Projects introduces a short documentary series of interviews with artists in their spaces.




Check out the Album

I am making a collection of short documentary films and photos about Unit 3 Projects Artists. Here is the first one to kick off the project with Silvia Krupinska

unit-3:

Silvia Krupinska

Organic Sculptor.

www.silviakrupinska.com

Unit 3 Projects introduces a short documentary series of interviews with artists in their spaces.

Check out the Album

An edition of lino prints from my project Lingua franca. For the small price of £10.00, you could have one of your very own! check out my web store, with a few of my drawings as well.
2013 Samuel Overington

An edition of lino prints from my project Lingua franca. For the small price of £10.00, you could have one of your very own! check out my web store, with a few of my drawings as well.

2013 Samuel Overington


I ran a Contact Improvisation lab at the Unit 3 Project space, exploring movement and drawing with dancers Sonja Brühlmann, Penny Chivas, Camilla Emson, Jenny Moy, and Melody Sacco. The work was created for the first part of ‘In All Directions’ an exhibition in the project space with Abigail Box.A huge thank you to the dancers for taking part and Lidia for documenting.Samuel Overington 2013

Samuel Overington, Sonja BrühlmannCamilla Emson, Samuel OveringtonSamuel Overington

I ran a Contact Improvisation lab at the Unit 3 Project space, exploring movement and drawing with dancers Sonja Brühlmann, Penny Chivas, Camilla Emson, Jenny Moy, and Melody Sacco. The work was created for the first part of ‘In All Directions’ an exhibition in the project space with Abigail Box.

A huge thank you to the dancers for taking part and Lidia for documenting.

Samuel Overington 2013

An edition of lino prints from my project Lingua franca. For the small price of £10.00, you could have one of your very own! check out my web store, with a few of my drawings as well.
2013 Samuel Overington

An edition of lino prints from my project Lingua franca. For the small price of £10.00, you could have one of your very own! check out my web store, with a few of my drawings as well.

2013 Samuel Overington

Pics and It Didn’t Happen

mossfull:

There’s always tension between experience-for-itself and experience-for-documentation, but social media have brought that strain to its breaking point. Temporary photography is in part a response to social-media users’ feeling saddled with the distraction of documentary vision. It rejects the burden of creating durable proof that you are here and you did that. And because temporary photographs are not made to be collected or archived, they are elusive, resisting other museal gestures of systemization and taxonomization, the modern impulse to classify life according to rubrics. By leaving the present where you found it, temporary photographs feel more like life and less like its collection.

The photograph, for all its promised immortality, always hinted at death. This was central to Roland Barthes’s analysis in Camera Lucida, that the enduring image “produces Death while trying to preserve life.” Documenting the present as a future past, as conventional photographs do, asserts the facts of change, impermanence, and mortality. The temporary photograph does the opposite: It interrupts the traditional photographic fixation of the present as impending history by positing a present moment that’s not concerned with the past or the future. As such, the temporary photograph is necessarily less sentimental and nostalgic. By being quick, the temporary photograph is a tiny protest against time.

Nathan Jurgenson for The New Inquiry

Some images from my the drawing that I have been reworking, that I created along with dancers Sonja Brülmann and Melody Sacco, from the drawing and contact improvisation performance with . Come down this weekend to the Unit 3 Project space and check it out - we are open Saturday and Sunday from 12 - 4.

I’ve been reworking the drawing that was created during the opening night performance of my exhibition ‘In All Directions’ at the Unit 3 project space.

I’ve been reworking the drawing that was created during the opening night performance of my exhibition ‘In All Directions’ at the Unit 3 project space.

About:

Pencils and Pens.
Artist based in London's East End, drawing dance, contact improvisation and movement based practices.

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