Sorcha Dallas

Viewed as a bit of an old fashioned ‘pure’ art form, drawing sadly fell out of fashion in the second half of the 20th Century. After years of neglect, it is now back in the mainstream, with artists embracing spontaneous, low-tech nature of drawing. Rather than requiring a massive studio, expensive materials and numerous assistants, artists who can draw can create images anywhere they go with a sketchpad and pencil. And the spontaneous and often subversive nature of drawing is being celebrated with a new exhibition at mima in Middlesbrough, The End of the Line: Attitudes in Drawing. In collaboration with the Hayward Gallery in London and The Bluecoat in Liverpool, the show is curated by mima’s Gavin Delahunty. He says: “Drawing is the foundation of all artistic disciplines, whether Fine Art, architecture or design. There was a movement in the 1960s which classed drawing as redundant. “However, I would say there has been a resurgence in drawing which goes hand in hand with a backlash against academic art.” Gavin helped whittle down a possible 80 artists to the 11 who are showing new or recent work in The End of the Line. Drawing, for each artist, is a primary mode of expression rather than a sideline. He adds: “Naturally each artist’s style is different and is very revealing about a person’s characteristics, just like handwriting. People say ‘I can’t draw’ but it is actually the freest, most expressive and easiest thing to do.” Exhibiting artists include Garrett Phelan, of Dublin, whose complex Battle for the Birds includes drawings, sculpture, animation and sound. An avid bird-watcher, Phelan’s work describes a politicised revolt by birds against humans, aroused by mankind’s careless attitude towards nature. It’s related to a protest movement against the building of an incinerator within a beautiful yet unprotected bird sanctuary near Dublin. There is similarly highly-charged work by Peruvian Fernando Bryce and Chilean Sandra Vasquez de la Horra. Using pen and ink reminiscent of mid-20th Century comic strips, Bryce questions official versions of history by laboriously copying government documents and brochures. Vasquez de la Horra’s drawings are more surreal, drawn from religion, mythology and fairytales, and also her own experiences of life under the brutal dictatorship of General Pinochet. Unusually, she seals her pencil drawing on paper in wax, creating permanent tablets. Gavin says; “Part of the debate around drawing is that of time and temporality. Whether in charcoal or pencil, drawings tend to fade away quickly. By sealing her drawings, Sandra Vasquez de la Horra is encasing them forever.” Gavin adds: “Many of these artists are highly politically motivated and the curators were looking for meaning with this exhibition. “Drawing is important; it can be about an artist’s emotions and feelings as well as culture and society. “People think drawing is delicate, but you can have a very strong attitude. I think the point at which people start writing drawing or painting off, is the point at which it gets exciting.” Mima has a commitment to drawing and aims to be centre of excellence for the discipline. The gallery is currently focusing on collecting drawings from America.