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Dear Janet
I’ve forwarded your email on to Deborah, but in the meantime, yes it is fine to included citations.
Kind regards
Serena
From: The UK drawing research network mailing list <[log in to unmask]>
On Behalf Of Janet Saunders
Sent: 27 February 2020 05:44
To: [log in to unmask]
Subject: Re: [DRAWING-RESEARCH] DRN 2020: Temporal Drawing final CFP
Hi Deborah,
Thanks for sending this as a reminder. I am on a 'cracking pace' to get my thesis in by May this year but I would love to revisit Loughborough in July and present at the Temporal drawing conference.
Just a quick (possibly stupid) question re the abstract - can in contain citations?
I am getting my images together to meet the UK deadline.
Cheers Janet
PS: The focus of my thesis is a pedagogical enquiry into the role and value of drawing in the creative process (specifically for novice graphic designers). It may not fit snuggly into your theme
as it specifically addresses the benefits and barriers to drawing, exploring activities that align with designerly thinking activities. However, there are sections where I reflect on my image making practice and studio explorations using drawing which may
be more appropriate. I mention this, in case you are looking for content that addresses 'design' - and another drawing workshop.
Draft
“I have had another evening doodling. I am not sure if what I am doing is strictly “doodling” as I oscillate from repetitive mark-making and patterning
to consciously drawing images and symbols. I find doodling relaxing. It is also helping me navigate my way through the cancer process. It has been ten months. Precious time seems to have slipped away. Increasingly I find myself not only doodling lilies
and lily pads but cross-sections of brains.” (Saunders diary, 2015)
In August 2014, my husband, Peter, was diagnosed with a brain tumour, and the relentless MRI and CT
scans, chemotherapy, and radiology sessions began. We were not alone on this journey. A staggering 145,000 people in Australia are diagnosed with some form of cancer every year (AIHW, 2019). Throughout Peter’s last year, I discovered stillness, peace and therapy
in the act of drawing. While scrutinising the many translucent indigo brain scans, I traced the contours with continuous lines (Rottger, Klante, 1964; McKim, 1980), oscillating between conscious and unconscious thoughts (Goldstein, 1991) sometimes guided more
by a sense of touch rather than sight (Nicolaides, 1941). Drawing became an emotional release, providing focus and creative ‘flow’ (Csikszentmihalyi, 1997). This fixation on the internal body led to a collaborative exploration of the external body with Peter,
using drawing to accentuate the dangers hidden below the surface, using body mono-prints. The memories of 2015 are suspended in time within the diary entries, doodles and body prints created while contemplating life, death, grief and beauty through drawing.
Janet Saunders | Associate lecturer
School of Humanities and Communication Arts
Western Sydney University
P: +61 9685.4670 | Office:ED.G.72
From: The UK drawing research network mailing list <[log in to unmask]> on behalf of Deborah Harty <[log in to unmask]>
Sent: Thursday, 27 February 2020 5:45 AM
To: [log in to unmask] <[log in to unmask]>
Subject: [DRAWING-RESEARCH] DRN 2020: Temporal Drawing final CFP
Final call for proposals: Temporal Drawing
TRACEY Drawing Research Network Conference 9th-10th July 2020
Conveners: Drawing Research Group, Loughborough University
This conference aims to explore the notion of temporal drawing. By ‘temporal drawing’ we suggest that temporality is not only inherent in drawing, both as a process and as a product, but is also its fundamental condition. To draw is to draw inescapably in and
of time. If to make a mark is to capture the trace of a gesture, then mark-making reveals the movement of time—of the living present becoming past, and of the past contracting into the present. With this dynamism come repetitions and difference: further marks
in anticipation of a present yet to come. Thus a drawing traces and is traced by movements that are intangible syntheses of time, and looking closely and slowly at a drawing becomes an act of contemplation that holds motion beneath its surface. And so, we
ask: how can we explore the time of drawing? How does time prompt us to think differently about drawing?
The conference aims to provide a space for discussion, dissemination and the exchange of knowledge and suggests the following as starting points and as possible themes, prompts and provocations:
• How can drawing ‘reveal’ in time?
• Can drawing be timeless?
• Is stillness possible in and through drawing?
• What is the role of pace in the processes of making and looking at drawing?
• How can duration be explored in drawing?
• How can erasure be explored in drawing?
The conveners invite proposals from practitioners, theorists and practitioner-researchers, which respond to the theme in ONE of the three listed formats:
• 20-minute presentation – 250 word abstract detailing the research question and proposed presentation. Please submit a word .docx file labelled as follows: surname.forename.presentation
• 2.5-hour practical workshop – 250 word proposal detailing the research question, format of the workshop and material/space requirements. Please label your file as follows: surname.forename.workshop
• Image or audio/video to be included in a showreel for a digital exhibition to be screened at the conference – up to 3 jpeg images of drawn works (resolution 300dpi) or 1 audio/video submission (codec/resolution negotiated on submission) max running
time 5 mins Please label your file as follows: surname.title of work.exhibition.jpg and include an image list with full details of the drawing including title, media, size, year. For Audio/Video submissions, provide a hyperlink for review and include full
details of the submission, display requirements, and running time.
Please include a 50 word biography with your submission and submit to Serena Smith:
[log in to unmask] by Friday 28th February 2020.
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