Eddie Izzard and drawing with kitties turned into art party with the digsmate in our makeshift studio.

She works very big and very fast and I work so small and so slowly. She did that huge charcoal drawing from blank to done in three hours (!). I spent all day on one girl and a wolf.

Living with artists is the boss.

About to go to my first Masters seminar. After struggling through teaching and an injury to my dominant wrist that persisted for a whole year (doing physio now so it’s fine) I’m excited to get back into art.

So I’m ‘interning’ at the Centre for Book Arts in New York, helping set up their exhibition. They called it an internship initially, but it’s just labour really. Totally putting it as an internship on my cv though.

Hoping to take a course in book-binding next week and maybe even make some contacts/network additions at the exhibition opening ..

Otherwise, been doing some drawing and trying to write a bit. I’m still hoping to illustrate a story from a while back, but we’ll see how that goes.

shy artist problems

Trying to draw beastial coitus and adjusting it from the reference image to make it less sexual, then deciding it’s not sexual enough and trying to change it back.

Fortunate enough to be in New York on behalf of The Ampersand Foundation after getting the Merit Award for Somata in the Absa L’atelier.

my artist profile

So we were encouraged to write a profile sort of explaining ourselves and our work during the L’Atelier workshop. It always seems so pretentious to write about oneself in the third person, but isn’t it always uncomfortable to write about oneself?

This is what I came up with:

"Kathleen Sawyer attempts to marry the beautiful and the grotesque in finely-detailed drawings rendered in ballpoint pen. Her interests lie mainly in portraiture and the body, mutation, fairytales, and horrible death. Adrift in negative space, each sensitively-observed drawing appears ephemeral; the figures seeming introspective and lost. Most individual pieces possess a kind of static poise which cements each character in an almost sculptural stasis, trapping subjects in the picture plane and reflecting the artist’s interest in emotional isolation.

Other pieces are realised in the form of book arts; in which drawings and cut-outs come together in a narrative format that unfolds as they are ‘read.’ Such works require the viewer to actively explore each piece page by page, creating an immersive experience that allows each viewer to choose how much or how little they wish to discover about the artwork. This enables a more intimate relation between artwork and audience; yet this engagement is subjective in itself as each book is best engaged with on a private level.

                By making the enclosed nature of personal experience transparent in her drawings, Sawyer encourages the interrogation of the subjectivity which simultaneously unites and isolates us all.”

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