Glenn Brown is a British artist known for the use of art historical references in his paintings. But this time he was invited to the artwork exhibition: Collateral Drawing
Collateral Drawing explores the relationship between finished works and the collateral drawing which fed into or resulted from their making in the work of sixteen artists with an East Anglian connection – Each artist was approached by the curators six months in advance and asked to retain the collateral elements of some new work by isolating or documenting elements of their working environment, as a means to record the artists’ subconscious actions around their day-to-day creativity.
These elements were then carefully collated and presented alongside an artwork that the artist produced alongside them during this period.
The Collateral Drawing Series was launched at Plymouth College of Art in February 2014, with the aim to travel around academic and public venues, exploring the central concept through an evolving selection of artists. Since an Anglo – Greek collaboration between six artists took place in Athens in May 2014 and an Anglo – German version between ten artists in Berlin in September 2015. In 2016 other artists were selected and Glenn Brown was in the list.
Every artist has their own unique working method that habitually causes repetitive marks to be inflicted onto or altering their working surroundings. Whether dripped, scratched, taped, cut, erased, smeared, hammered: all are repetitive and typically unguarded instances of the process of drawing. The wall, floor or table acts as a raw surface and means to capture these on-going activities that the artist ritualistically performs; the remains of the method left behind is as familiar as it is often taken for granted in an artist’s practice and is rarely publicly exposed. These work surfaces are an integral part and an extension of the drawing process, which are then discarded, or severed from the artwork. But this time they weren’t.
See also Colorful art by Ian Davenport HERE!