Lecturers: Joe Frost, Shannon Smith
Venue: Goat Island
Joe Frost, “Sydney Harbour”, 2005
Goat Island is an environment with exciting possibilities for drawing. Located at the narrowing of Sydney Harbour to a network of small bays and promontories, it offers immense scope for representational drawings (of trees, architectural subjects, harbourscape etc.) and its quietness and seclusion make it a perfect place to draw on other ideas and experiences of place, including abstraction, and structured interpretations of memory and imagination.
Ways of seeing and understanding a place through drawing will be discussed, as a starting point for your own explorations.
Here is an A-Z to get you thinking…
abandon, begin, clouds, colours, conglomerations, cranes, crossings, dinosaurs (of industry), escarpments, eucalypts, friends, gatherings, haze, ink, junctions, knots, layers, leaves, lookouts, moorings, nooks, outlets, palimpsests, panoramas, picnics, quarry, rust, saltwater, sandstone, scavenging, shadows, sightlines, slipways, tides, undulations, vantage points, veils, wanderings, webs, windows, x- ray vision, yesteryear, zigzags, zone (in the)
Venue: Goat Island. Please note: This project runs from 8.30 am – 2.30 pm every day of Drawing Week. Because special boat access to Goat Island has been arranged, YOU WILL NEED TO ARRIVE AT YEEND ST BIRCHGROVE BY 8.30 AM EVERY DAY. If you are late you will miss the boat and thus not be able to participate. You will finish the day at 2.30 pm, when you will be returned to Yeend St, Birchgrove by boat. Access Yeend St wharf by: bus + short walk (441, 442, 445 433); ferry to Balmain Wharf, (Thames Street, not Balmain East) + short walk; or find local street parking.
Ken Whisson, Aeroplane and Grey Horse, 1984
Materials: You should bring basic drawing materials: pencils/erasers/sharpening implement, paper (A3 – A4 cartridge paper in a pad or sheet form), charcoal. Also wet media: black drawing ink and white gouache with some brushes/water container/mixing tray. Coloured materials (pastels, watercolour, coloured pencils)are optional but can be enjoyable. You will probably advance to better quality paper as the week progresses: for drawings in wet media, something like a watercolour paper, 185gsm or 300gsm. For dry drawings, Canson Dessin (200gsm) or similar.
Lloyd Rees, Ball’s Head, Sydney Harbour, 1933, pencil on paper
David Smith, Hudson River Landscape, 1951
Turner, Hulks on Tamar, twilight, 1813, watercolour
Noel McKenna, Palm Beach wharf, 2014
Albrecht Durer, ‘Antwerp Harbour’, 1520
Richard Diebenkorn, Untitled, 1948
Lecturers: Joe Frost
Joe Frost, ‘Cove and Dock Structures, Greenwich, 2015, acrylic, 62 x 66cm
The continuing concern in Joe Frost’s work over fifteen years of exhibiting has been to picture contemporary urban life. Acknowledging antecedents in early twentieth century painting, Frost’s work has its origins in the genres of landscape, still life and the figure composition but his method has evolved towards a form of improvisation in which the representation of a subject – most recently groupings of human figures in the city environment – occurs through the synthesis of abstract elements.
Joe Frost, “Escalator Group, Study No. 1”, 2012
Shannon Smith completed a Master of Fine Arts at NAS in 2016. Her carved sculptures evolve through a process of synthesis that begins with drawing and is guided by the senses of touch and sight. To convey sentiments of what it feels like to inhabit a body, in order to trigger in the viewer a sensory understanding of the presented forms.