Cover of exhibition catalogue, In the Zero of Form, a solo exhibition by Hanna ten Doornkaat at One Paved Court Gallery, Richmond, England, UK, 2018.


In the Zero of Form

In the Zero of Form investigates Hanna ten Doornkaat’s recent series of works in relation to Kasimir Malevich’s Black Square (1915). Devising his own version of abstraction, Malevich founded the manifesto of Suprematism insisting that ‘painters should abandon objects and subject matter if they wish to be pure painters.’[i] He

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Time trace: A drawn perception

If drawing is the trace of an action, and action is transitory, could drawing then exist as a perception of time in space? ‘Time Trace: a drawn perception’ investigates the tactility of the drawing discipline specifically within the context of performative practices. The article aims to discover the act of

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Cover of publication, Drawing: Research, Theory, Practice volume 7, issue 1, published by Intellect Books UK. This issue contains research article, Trace and catharsis: Embodied drawing by Brooke Leigh.

Sample Writing

If drawing is the trace of an action, and action is transitory, could drawing then exist as a perception of time in space? ‘Time Trace: a drawn perception’ investigates the tactility of the drawing discipline specifically within the context of performative practices. The article aims to discover the act of

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Cover of publication, Drawing: Research, Theory, Practice volume 7, issue 1, published by Intellect Books UK. This issue contains research article, Trace and catharsis: Embodied drawing by Brooke Leigh.

Trace and catharsis: Embodied drawing

For the past decade, my artistic research practice has explored the performative aspect of drawing. Recently, I have come to realize how the performative process can function as an experience of catharsis. By examining a selection of works from my practice, Cassils, Louise Bourgeois, Ana Mendieta and Tracey Emin, that

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Photograph of artist, Brooke Leigh performing, ‘Drawn-Out’ at MCA ARTBAR curated by Julie Rrap, August 2017 at the Museum of Contemporary Art Australia. In this performance, the artist kneels on the floor with her arms outstretched and pushes a 3kg piece of sandstone back and forth in front of her head until she reaches physical exhaustion. ‘Drawn-Out' investigates the performative act of drawing to encounter intense states of the body as a cathartic experience. In this sense, the drawing process functions as a way to release severely internalised distress.

Drawn-Out: trace and catharsis

Drawn-Out: trace and catharsis explores the act of encountering intense states of the body as an experience of catharsis. By re-creating and enacting intense psychological, emotional and physical states in performance art, artists may elicit a sense of empathy in the viewer or audience. Drawing from Aristotle’s notion of catharsis

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