Previous AA2A Artist

Jonathan Gildersleeves

Artform:
Through the AA2A scheme I wish to investigate mould making and casting in relation to drawing; specifically the idea of 'the cast' as the memory of an object, or the trace of something which has been left behind, with reference to how drawing might also be seen as a trace or impression. I see this as a fantastic opportunity to continue the drawing/sculpture discourse within my practice via new processes. I hope that this new development in my research will be invaluable in terms of my own professional development and to those students involved within this project at Wimbledon, through making, critiques, workshops, lectures and online discussion.
Year:
2011-12
Location:
London, England
Project summary:

 

My current studio practice revolves around the investigation of drawing; specifically the relationship between drawing and sculpture. I produce 3D objects through an intuitive, playful process, similar to that of doodling or sketching. Due to the method of making, scale and materials many of the objects produced have, perhaps, more in common with drawing than they do with sculpture. In addition to this, more traditional drawings are made in response to objects and vice versa, and indeed objects are often drawn on to, further developing the drawing/sculpture discourse. In creating this to-and-fro, a constant state of flux is brought into existence, which can only be stabilised through careful selection, intervention and curation.

 


 

 

My current studio practice revolves around the investigation of drawing; specifically the relationship between drawing and sculpture. I produce 3D objects through an intuitive, playful process, similar to that of doodling or sketching. Due to the method of making, scale and materials many of the objects produced have, perhaps, more in common with drawing than they do with sculpture. In addition to this, more traditional drawings are made in response to objects and vice versa, and indeed objects are often drawn on to, further developing the drawing/sculpture discourse. In creating this to-and-fro, a constant state of flux is brought into existence, which can only be stabilised through careful selection, intervention and curation.

 


 

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