'Wayfinding': The Bridget Riley Art Foundation and Central Saint Martins at the British Museum
A new display entitled ‘Wayfinding’ has been put up in Room 90 as part of the Bridget Riley Art Foundation (BRAF) Programme at the British Museum. For this exhibition of 14 works I have paired the drawings of BA Fine Art students from Central Saint Martins with the works that inspired them during their visit to the Prints and Drawings Study Room. The display explores drawing as a tool that artists, both emerging and established, use to find their way. Their ‘way’ may be an examination of their artistic process, the development or destruction of a personal style or the path to a finished work. Regardless of what form the path takes, drawing is a method through which an artist can clarify their direction.
The BRAF Programme is a three year project in the Department of Prints and Drawings that supports two posts: a project curator, Isabel Seligman, and myself as project officer. A key part of the programme is to research the drawing practice of emerging artists, specifically university art students. In the past year we have brought almost 500 students into the Prints and Drawings Study Room to take inspiration from drawings. We do this through curating and leading workshops, and selecting works from the Museum’s rich drawing collection, one that stretches from the fifteenth century to the present day. Responses from the students and tutors have been invaluable to our understanding of the role of drawing in contemporary arts practice and education. These insights have also contributed to Isabel’s curation of an exhibition of British Museum drawings that will tour the UK in 2016–2017.
Throughout the project, we have been privileged to work with many bright and engaged young artists, but we were particularly lucky to spend a significant amount of time with a small group of second year students from Central Saint Martins. Organised by their pathway leader Anne Eggebert and led by their tutor, artist Rachel Cattle, the course was entitled ‘On not knowing – drawing at the British Museum’. The title comes from Bridget Riley’s essay ‘At the End of My Pencil’, published by the London Review of Books in 2009. In the essay Riley states that, for her, ‘drawing is an inquiry, a way of finding out – the first thing that I discover is that I do not know.’
The course encouraged students to discover more about their own practice through the journey of drawing rather than working towards a defined, end point. By recognising that they ‘do not know’, the artists were freed from any limitations that might stifle true exploration.
Over the course of three months, we witnessed the students’ drawing practice reveal new directions in their work, as they responded to artists exploring similar ideas. The following works are just a few examples.
Leo Claudon found resonance with Picasso’s idea that in the metamorphosis of a picture ‘one might discover the path followed by the brain’. Instead of working from a defined concept, Claudon lets his drawing unfold through a series of reactions to line and form. This allows Claudon to draw without restriction; the work that emerges is a response to the energy of the moment in which it was drawn. The raw, overlapping lines that construct the muscular energy of the boxer show the artist’s process, the metamorphosis of his picture.
Jordan Mouzouris was inspired by the pulsating rhythms of a drawing by Mannerist artist Bronzino. Mouzouris’s piece was created with a method known as concrete poetry. In this practice, the artist uses visual composition to guide interpretation of text. Mouzouris frequently works from this method, sketching and arranging word and image in his notebook. It is no surprise that the artist connected to Bronzino, an artist who was not only a painter, but an accomplished poet.
Aurélie Poux drew Untitled shortly after working from a drawing by British abstract artist Paule Vézelay. Poux’s modulations of grey and subtlety of line are experiments drawn from what the artist has called ‘Vézelay’s silent delicacy’. The stability of Poux’s monumental figures is undone by the cracks and fissures that materialise from the drawing’s gradation of tone. Her meticulously drawn surface is intended to create an unsettling contradiction between youth and decay. Through exploration of Vézelay’s graphic mark-making and tonal variation, Poux found the artistic language she needed to confront the difficult subject of sickness and abuse through aesthetically pleasing form.
Beyond these artworks, visitors can also see the drawings of George Grosz, Frank Auerbach, Sol LeWitt and Giuseppe Galli Bibiena paired with responses from emerging artists Katherine Illingworth, Isabelle Cole, Pooja Patel and Rianne Owen.
The works in the display demonstrate the diversity of artistic experience that drawing can unlock. In drawing from drawings these artists were able to examine and explore their own artistic process from a different perspective. Much more than direct copying, their responses were pathways to discovery.
I hope this blog inspires people to come and see the display of student work and the works that inspired them. I also hope this inspires people to come and use the Study Room, where over 2 million works on paper can be seen first-hand. The display is in Room 90 through the first week of November. Appointments to draw in the Study Room can be made by clicking here.