*Registration open

*10-12 July 2020

*BSMT Gallery, Dalston in London, UK

*Materials provided by instructor

* Cost £690.00

TO REGISTER EMAIL JUDYPILARCZYK@GMAIL.COM

Description:

In this three-day, charcoal sanding workshop, students will be learning how to remove charcoal from heavy paper to create a wider range of grey tonalities.  We will be creating a community of learners ready to tackle a new and demanding approach to art. Students will work on drawing from a plaster cast using the sanding method. They will be working from photographic reference as well as from life.  Students can expect to learn all of the techniques required to create beautiful, rich black and white artworks; from minute details ( sanding tips, different grades of sandpaper and how to deal with “problem” areas) to toning larger areas.

.

Workshop Schedule:

Day 1:

• 9:00 – 4:00 - Workshop
  • Annie will begin the day with discussion.
  • Students will establish community. 
  • Annie will demonstrate technique process.
  • Annie will circulate through the group guiding as needed.

 Day 2:

• 9:00 – 4:00 - Workshop
  • Annie will begin the day with discussion and demo.
  • Students will continue to work on their artwork.
  • Annie will circulate through the group guiding as needed.

Day 3:

• 9:00 – 4:00 - Workshop
  • Annie will begin the day with discussion and demo.
  • Students will continue to work on their artwork.
  • Annie will circulate through the group guiding as needed.
  
  

 Meet Annie Murphy Robinson

The technique that I now exclusively use, began about 17 years ago and involves sanding charcoal into paper as I draw. By using sandpaper to grind in and remove small amounts of material I am able to create finer details. Although I love the finished work, it is very labor intensive. I cover the surface of the paper with compressed charcoal and sand down to a light gray several times. By doing this, I change the inherent nature of the paper (which is an uneven “napp”) and make it uniformly smooth before I start drawing. I work from photographic reference (I take all of the photos) and employing the grid method, I start at the eye of the main subject and work out from there.

At the emotional level of my work, my main focus is to convey truth and honesty, and for me, the only absolute truth I know is of myself and my children. This truth is filtered through the lens of my own experience, often being bittersweet and questioning. In this age of filtered photos, social media posts and self promotion I feel the need to be honest and vulnerable.

My secondary concern is with beauty; aching, haunting and desirable. Everything matters, the wrinkles of the dress, the stains, the fur of the animals and the gaze. More often than not, my subjects meet the eyes of the viewer- inviting them to look and to connect with their own experience and vulnerability.

My work allows the viewer to glimpse a private world of the female- hesitant, insecure and often unaware of the power that they hold. My own experience as a young adult was both beautiful and traumatic. For me, this dark period of my life is always prevalent in my work in one way or another.  My art helps me recognize the importance of it and makes it worthwhile. Through drawing I take the power out of trauma and am no longer a victim.

I have discovered that when I draw what I know, what I love and what resonates with me I create authentic work. I validate my life and my experiences- good, bad and indifferent.  We all have a voice, we all have experiences- and with regular practice it will show up in the art. My advice is don’t wait for a good idea, don’t second guess yourself, do the work and it will come.