Show Your Work…

Mother’s Day is approaching and to celebrate I think we should share Mother’s Day inspired/appropriate drawing works on The Drawing Project page! Follow the link and post a picture of your drawing (include your name and artwork title) and share the love!


Image: Jenny Core, Sunflowers #3.


The Drawing Project Exhibition: Reviews & Images

The Drawing Project’s first exhibition was held at Castlefield Gallery, showcasing the drawing works of 7 North West based artists. The exhibition was selected by Matthew Pendergast (Interim Programme Manager at Castlefield Gallery) and Kate Jesson (Curator at the Manchester Art Gallery) and supported by the CG Associates scheme. The exhibition received a fantastic response and I am pleased to share links to two online magazine for The Drawing Project reviews below:

The Double Negative 
Corridor 8

I have selected some installation shots for your viewing pleasure! For more installation shots please visit  The Drawing Project Facebook Page.



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Sophia Crilly

Sophia Crilly_Sol LeWitt Notebook Page_2014_72dpi

Sophia Crilly_Sol LeWitt_2014_72dpi

Sophia Crilly_Sol_Letter to Eva_2014_72dpi

   Sophia Crilly_Eva Hesse at Preview_2014_72dpi


In an era of visual assault and mass reproduction, the ease with which images proliferate, are edited and transformed, can be used as both a subject and tactic to question what art is and could be. Sophia Crilly’s practice both colludes with and critiques this avenue of contemporary artistic enquiry, through the ‘appropriation’ and ‘reproduction’ of found and archival imagery in her work, and the refashioning of images with historic currency as objects of art.

Her graphite-on-paper drawings are detailed, labour intensive recreations of thematically researched images, sourced from the Internet, reportage and personal photographs. Each drawing operates pictorially, both individually, and as part of a series, placing it within a broader, complex narrative and unfolding history.


Sophia Crilly (b. 1977) is based in Manchester and is Director and Curator of Bureau. She graduated with an MA in Visual Culture and BA in Fine Art from Manchester School of Art.

Recent solo exhibitions include: Ferus, Malgras Naudet, Manchester (2013). Group exhibitions include: The Annotated Palace Posters Collection, Palace Projects [online]; Occupy, Salford; Summer Show, M|N (2013), Sixty Drawings, Bankley Gallery, Manchester; Tattooed Tear, M|N; International Drawing Project, PR1 Gallery, UCLAN; Salon Neu, Embassy, Edinburgh (2012); Jerwood Drawing Prize (selected by Iwona Blazwick, Tim Marlow and Rachel Whiteread), at Jerwood Space, London; BayArt, Cardiff; Lanchester Gallery, Coventry; and Burton Gallery & Museum, Devon (2011-12).

She has previously exhibited work in Berlin, Helsinki, London and New York, and has undertaken residencies in Helsinki and Rotterdam.




Sophia Crilly


Jenny Steele


Jenny Steele, When buildings stand up/ when buildings fall down, 2013.


Jenny Steele, Upwards 1,  2013.


Jenny Steele, Upwards 1, 2013.


Jenny Steele, Upwards 2, 2013.

Jenny Steele’s work reflects on the past, current and future use of architecture that she encounters, processing elements of these spaces through drawing, sculpture, animation and printmaking. Buildings referenced within her work are selected by socio-historical narratives or structural interest, and often suggest a utopic hope for the future, such as post-colonial environments, rural fabrications and post-industrial mills in the North West.

Steele’s latest work references post-colonial buildings in North and South Africa, after several periods of research there in 2012-13. She is particularly interested in seafront architecture from the early 19th century to modernist forms, considering the designs utopian ideals.

The process of drawing, and sensitive uses of colour are the crucial foundations of her work, which build up a timeless spacial atmosphere. The immediacy and simplicity of the drawing process, combined with economic tools, bring her back, time and again to drawing. Sometimes drawing is the end in itself, and other times drawing composes a three dimensional sculptures or print. The formal aspects of the drawing method provide fields of removal and overlap using every day pens and pencils that become devices which reconsider architectural spaces, bringing attention to colour and construction.

Jenny has exhibited widely in the UK, Europe, USA, Japan and China. Recent exhibitions include the solo show ‘Why buildings stand up/ Why Buildings Fall Down’ at Malgras|Naudet (2013) and group exhibitions and projects at BALTIC Artists Book Fair (2013) and The Jerwood Drawing Prize at Mac, Birmingham and UCA, Bournemouth (2013). Examples of residencies include Manchester School of Art (2012), InCertainPlaces (2011) and 501 Artspace, Chongqing, China (2011).

Jenny Steele is represented by PAPER, who recently showed her work at The Manchester Contemporary (2013) and Sluice Art Fair, London (2013). She is a graduate of Goldsmiths MFA (2007) and DOJCAD BA Fine Art (2002).  


Jenny Steele


Claire Weetman

watermark_still 1Claire Weetman, Watermark, 2012.

watermark_detailClaire Weetman, Watermark, 2012. 

selected stills 4 channelClaire Weetman, Watermark, 2012. 

Migrate-claire weetman

Claire Weetman, Migration, 2013.

“When I see something or someone moving, I imagine what that movement would look like if it left a trace behind, how a space would look if lines followed that movement around.”  In the same way that a moving pencil leaves a record of its movement on a sheet of paper, Claire Weetman creates works that mark a line in a physical space.

Watermark uses a public square as the drawing surface, with an evaporating trace of water marking prominent lines of passage taken by pedestrians as they cross the space which links ferry, bus and taxi terminals in the Beşiktaş area of Istanbul.  Drawing can be thought of as an active process rather than a finished product and it is in this manner that Claire considers her work. The action of making the marks and following movement holds greater importance than the static marks that result, which are anchored to a position and absent of movement.

This action of drawing both traces existing movement and alters potential movement. Watermark, whilst aiming to trace natural routes of travel through the space, actually causes that flow to be disrupted. Painting a line of water onto the floor interacts with the movement of the people that I am following causing them to alter their course, pausing, looking back or skipping across the transient obstruction.

Claire Weetman studied Fine Art at Liverpool John Moores University (2003), and in 2011 co-founded the artist-led studios and artist network Platform Art St Helens. Exhibitions include: Small Change: Airspace Gallery, Stoke on Trent; Two installations: The Bluecoat, Liverpool; Trace : Motorcade/Flashparade, Bristol; Animated Drawings: screening of works by emerging artists, Parasol Unit, London. Residencies include: METAL International residency Award: In partnership with Shanghai Fine Art University (CN); TRADING STATION: Artist led residency in Istanbul (TR); AA2A (Artists access to art colleges) residency, Salford University; Urban Interventions : Atelierhaus Salzamt, Linz (AT).


Claire Weetman


Lesley Halliwell

Fanatic - work in process 7

Lesley Halliwell, Fanatic (work in process). 

Halliwell. Fanatic I, 4500 minutes (detail)

Lesley Halliwell, Fanatic (work detail). 

11. Shrinking Violet, 2202 Minutes

Lesley Halliwell, Shrinking Violet.

Halliwell. Shrinking Violet, 2608 Minutes (detail)

Lesley Halliwell, Shrinking Violet (detail). 

Position the template and press down with the left hand & hold firmly. Hold the biro with the right hand. Place the nib of the pen in the chosen hole of the disc. Start to draw by rolling the smaller circular disc within the larger circle. Round and around until the biro reaches its original starting point. Move the template and repeat.

It starts with a simple step and then another that add up like taps on a drum to a rhythm. Not dissimilar to the rhythm of walking; the placing of one foot in front of the other; shifting the weight from left to right to right to left. In itself, one step, one line, is quite insignificant, but they add up.

I have been making work with biro pens for over ten years now. Marks on paper; intimate, honest and raw. The drawing starts from a central point. Carefully measured pencil lines direct and guide the overall structure while the pen nib leaves a trail of ink behind it. Mistakes are recorded along the way, absorbed into the body of the drawing. My hand slips, the pressure of the pen alters, pens run out of ink; key moments that are left as a trace of a journey and the memory of a process which records and reveals human experience.

Sometimes the pen produces lines that are light and delicate. When ink runs dry the metal nib embosses the paper leaving an indentation visible only when caught in the light. At other times ink splutters onto the page in all its glory; the pen nib works fast, worrying away the fibres of the paper, the ink building up layer after layer; lush, rich and sticky. Marks like this, that are placed so close together, produce blocks of vibrant colour. The white background is obscured, shifting the line-based composition into new and uncertain territory.

Lesley Halliwell has exhibited extensively throughout the UK including the touring show Beauty is the First Test originating at The Pumphouse Gallery, London (2012-14), The Infinity Show, NN Northampton (2013), The Jerwood Drawing Prize (2010), The Drawing Shed, Project Space Leeds (2010), Superabundant – A Celebration of Pattern, Turner Contemporary (2009) and Bloombergs New Contemporaries (2002)

Lesley originally trained as a painter (BA(Hons) Nottingham Trent University) and has gone on to gain an MA in Twentieth Century Art History (Goldsmiths, London) and an MA in Fine Art (Manchester Metropolitan University). She is a Fine Art Lecturer at the University of Chester and a member of Suite Studio Group in Salford. She has work in private collections in London, New York and Europe.


Lesley Halliwell


Mary Griffiths

MaryGriffiths003353 copy

Mary Griffiths makes abstract drawings of mainly the architectural and sometimes the geographical. All show a preoccupation with gravity and luminosity, materiality and the insubstantial.
Griffiths (b. 1965) lives in Manchester and graduated from the MA Fine Art at Manchester School of Art in 2009. She is also Curator of Modern and Contemporary Art at the Whitworth Art Gallery, Manchester, where she has been in post since 2000. Recent exhibitions include: Some Recent Examples, Manchester (2013), Cabedal, Plataforma Revolver, Lisbon (2012), Fathom (2012), Bureau, Manchester (one-person show), Memory of a Hope, Ceri Hand Gallery, Liverpool; Workhouse, The Hive, Manchester (2011); MA Show, Holden Gallery, Manchester School of Art; This and That, Triple Base Gallery, San Francisco, USA; Four Artists from the Manchester School of Art, FAFA Gallery, Finnish Academy of Fine Arts, Helsinki, Finland (2009); Jerwood Drawing Prize 2008, Jerwood Space, London and touring UK (2008-09). Her book, Pictures of War, was published by Carcanet in 2009. 

Mary Griffiths is represented by Bureau, Manchester.


Mary Griffiths