Thursday, June 15, 2017

Epheme-Realities: Observing Drawings Around Us

Epheme-Realities is a new series that focuses on temporal, everyday subjects. They have characteristics of drawings, like line and shadow,  but would not necessarily be categorized as such. Having blogged about expanded practices for the past two years, the line is really blurred between who or what draws. 

-Nicole Lenzi

Web. (6/14/2017 ,7:48 p.m.)

Friday, May 26, 2017

Expanded Featured on Drawing Tube

Thank you Drawing Tube for featuring an article about Expanded on its "Wall". Drawing Tube is a blog dedicated to contemporary drawing by Hiraku Suzuki of Tokyo, Japan. 

Read the article here:

Tuesday, May 9, 2017

Hiraku Suzuki: Excavating Signs

Constellation #01
h1400 × w1400mm
Silver ink and Chinese ink on Fabriano paper mounted on aluminum

Constellation #07
h101.5 x w138.5cm
Silver ink and Chinese ink on Fabriano paper mounted on aluminum

Drawing exists between pictures and language. In fact, drawing and writing were once one and the same. Long before we began using what we now know as language, the ancients etched the rhythms of the stars into mammoth tusks, onto cave waves, and across the face of ordinary stones. This is how humans invented signs. Letters and language were developed by humans to orient themselves within a world where the unknown is constantly present. And we have managed to survive as a species by using language to better study and relate to our world. But is anyone living today capable of fully grasping new occurrences within our world’s ever-growing expanse of time and space and pointing to the future with only our existing concept of language?

My methodology interprets drawing as an alternative archaeology that corresponds to our world in the present progressive. I begin by first slipping into the world through the ubiquitous cracks that already exist and deconstructing them into dots and lines.

Walking Language
Silver ink on the wall
h600 x w5500cm  (mural)
installation view at Aomori Contemporary Art Center (Aomori, Japan)
photo: Kuniya Oyamada

Take, for example, the wavering shapes of the sunlight as it filters through the trees onto the ground, the chipped white lines in the asphalt, or the curving veins of a leaf. An indecipherable mathematical formula, graffiti, veins bulging through the skin, the outlines of buildings, the topography of a rice terrace in China, the sound of footsteps echoing in an underpass, and an animal’s trail. The grooves on a record, the branches of a tropical plant, an afterimage induced by car headlights, the fictional company logo seen for a fleeting moment on a billboard in the scene of a science-fiction movie, the path of a mosquito flying through space. 

I look at the dots and lines within them. I look at them from forward and behind. I trace them. Use my body. Recompose them. Produce an effect. Repeat. 

In this way, I connect fragments of the deconstructed world and generate new lines, which become the circuit that connects the here and now with the somewhere, some time. Neither pictures nor words can be transmitted in this circuit. Only signs can. I excavate the signs in the ever-changing present moment. My practice is to discover and acquire flickering signs of light in the faraway, in the dark and widening gap between drawing and writing.

GENGA #001 - #1000 (video)
video (28min 11sec [loop]) 

reflector on wooden panel
h263 x w118cm
installation view at Aomori Contemporary Art Center (Aomori, Japan)
photo: Kuniya Oyamada

2011 2013
dimension variable
cutout from museum catalogues, Silver spray paint

Drawing of Time (Mammoth Tasks)
880 x 880 cm
stainless steel
installation view at “NISSAN ART AWARD” BankART Studio NYK (Yokohama, Japan)
photo by Ooki Jingu

Do Dots Dream of Lines
reflector and mixed media
public art piece (Oita, Japan)
photo: Takashi Kubo

GENGA #001 - #1000
Xerox paper on the wall
installation view at “Very Addictive” (2016) atYinchuan Museum of Contemporary Art (Ningxia Prov., China)
photo: Hiraku Suzuki Studio

Language Room
marker on paper and wall
installation view at Jivan Sikshan Mandir Ganjad (Dahanu, India)
photo by Toshinobu Takashima

Live Drawing Performance
21st Century Museum of Contemporary Art, Kanazawa (Ishikawa, Japan)
photo by Hiraku Ikeda

Hiraku Suzuki (b. 1978, Japan) obtained MFA at Tokyo National University of Fine Arts and Music in 2008. Currently lives and works in Kanagawa, Japan. Focusing on the act of drawing, Hiraku Suzuki's practice encompasses a large variety of media, including two-dimensional works, installations, murals, video, performance, and sculpture. He is constantly expanding the field of drawing as a method for generating and transforming space and time. He received the grand prize of FID International Drawing Contest in 2017.

Recent solo exhibitions have included those held at ACAC (Aomori/ 2015), Daiwa Foundation (London/ 2013), Wimbledon Space (London/ 2011), Galerie du Jour (Paris/ 2010). Group exhibitions include “Very Addictive” Yinchuan Museum of Contemporary Art (China/ 2016), “Think  Tank Lab Triennale” Wroclaw Architectural Museum Poland/ 2015, "TRAITS d'esprit" Galerie du Jour Agnes b. (Paris/ 2015), “Vancouver Biennale” (Canada/ 2014), “Nissan Art Award” Bank Art  NYK Studio (Kanagawa/ 2013), "Son et Lumière, et sagesse profonde" 21st Century Museum of Contemporary Art, Kanazawa (Ishikawa/ 2012), "One And Many" Location One (New York/ 2011) and "Roppongi Crossing" Mori Art Museum (Tokyo/ 2010). Publications include GENGA (Kawade Shobo Shinsha and Agnes b.). He has also been taking part in interdisciplinary projects that involve sound, architecture, and fashion such as his collaborations with Agnes b. and COMME des GARÇONS. He has been organizing the platform for alternative drawing research and practice “Drawing Tube” since 2016.

Drawing Tube website:
Hiraku Suzuki website:

Wednesday, May 3, 2017

FID Prize Auctions

The FID recently announced that it will begin FID Prize Auctions. These auctions will showcase anonymous art online with secret (and reasonable) ceiling prices; clever ways of getting potential buyers to focus on actual art. Participants may even be able to afford a work that they love. This inclusive approach counteracts today's financially driven art auctions. I just hope that more drawings sell than paintings and photographs. For more information, see their website.

Thursday, April 27, 2017

Gelah Penn: Confounding Parameters




I expand the language of drawing in sculptural space. In site-responsive installations, I deploy a variety of synthetic materials to invade, interpret and confound the architectural parameters of a given space. The works in my Polyglot drawing series foreground the same internal formal and conceptual contradictions: cohesion and fragmentation, balance and vertigo, minuet and jitterbug.

My great interest in film, particularly the uneasy territory of film noir, informs the work.





1, 2, 3. Situations, 2017 (large details)
Plastic tarps, foam rubber, lenticular plastic, Denril, plastic garbage bags, polyethylene
sheets, stainless steel Choreboys, black foil, mosquito netting, latex & silicone tubing,
mosquito netting, metal rods & staples, acrylic paint, rubber ball, upholstery & T-pins
Approximately 132 x 432 x 365 inches
Amelie A. Wallace Gallery, SUNY College at Old Westbury, Old Westbury, NY

4. The Big Red One, Two, 2017
Mosquito netting, foam rubber, foiled thermal insulation, Mylar, lenticular plastic,
plastic garbage bags, silicone tubing, monofilament, acrylic paint, Whiffle ball,T-pins
Approximately 104 x 130 x 65 inches
Studio view

5. Big Serial Polyglot Y (+1), 2016
Plastic garbage bags, lenticular plastic, digital prints, acrylic
paint, stainless steel choreboy, metal staples & eyelets on
Mylar & YUPO
As shown: 108 x 126 x 96 inches
6. Sliced Polyglot #6, 2016
Plastic garbage bags, metal
staples & eyelets on Mylar
72 x 40 x 1.5 inches

7. Sliced Polyglot #7, 2016-17
Plastic garbage bags, metal staples
& eyelets on lenticular plastic
96 x 32 x 2.5 inches
8. Sliced Polyglot #5, 2016
Plastic garbage bags,
metal staples & eyelets
on Mylar
56.5 x 31.5 x 3 inches

Gelah Penn's work has been exhibited widely. She is represented in the collections of the Columbus Museum (Columbus, GA), Weatherspoon Art Museum (Greensboro, NC), Brooklyn Museum Library (Brooklyn, NY) and Cleveland Institute of Art/Gund Library (Cleveland, OH). Exhibitions have been reviewed Art in America, The New York Times,, The Brooklyn Rail and a feature in Sculpture Magazine. Penn received a Tree of Life Individual Artist Grant and fellowships from the Marie Walsh Sharpe Foundation, Yaddo and the MacDowell Colony. The artist lives and works in New York City.

Monday, April 17, 2017

Drawing Organizations Around the Globe

For opportunities and exhibitions regarding contemporary drawing, check out the following organizations and galleries:

National (United States)
The Drawing Center. (New York, N.Y.) is the only not-for-profit organization in the United States promoting drawing. It offers contemporary and historical exhibitions along with special programs.
Kentler International Drawing Space presents exhibits and has a flat file. It is located in Brooklyn, NY.

Centre for Recent Drawing, in London, England, is a museum space for drawings free of commercial gallery affiliations.
The Drawing Room, also in London, England, is the only public and non-profit organization dedicated to exhibiting international drawing in the UK and Europe.
The FID, headquartered in Paris, France. is an "independent cultural institution" that is currently resetting its course. It formally hosted the FID Prize, an international drawing prize.
DRAW-International, based in Caylus, France, is a  "center for action, research, and experimentation in art and design". It offers artist residencies on its beautiful grounds.
Drawing Spaces, located in Lisbon Portugal, supports collaborations between artists from Portugal and abroad. It hosts exhibitions, residencies, and research.
The Drawing Hub is a non-profit space for drawing practices, research, and exhibitions in Berlin Germany.
Drawing Centre Diepenheim, in the Netherlands, presents drawings from international artists.

Print Publications:
 Časopis X or is a print publication for presentingdrawing based works in Slovakia.

Tuesday, April 11, 2017

Yann Bagot: On Site

Indian Ink on paper, 56 x 76 cm, 2012

Indian Ink on paper, 56 x 76 cm, 2012

My work is centered around drawing, ink, printmaking and the artist book.

This approach is based on alternating work sessionsdeep in the natural elements, and creating images back in the studio.

Outdoors, my research focuses on landscape, drawing inspiration from the deployment of natural forces surrounding it. Indoors, my creation is inspired by scientific adventures and natural phenomena: areal and aquatic currents, geological movements, force fields, cycles of matter.

I live and work in Paris, but as often as possible I escape to natural environments.
Alongside my personal art, I am part of the drawing collective Ensaders.

Indian Ink on paper, 56 x 76 cm, 2012

Indian Ink on paper, 56 x 76 cm, 2012

Indian Ink on paper, 56 x 76 cm, 2012

Les rivages du Ciel
mural drawing, installation, 2015

Les rivages du Ciel
mural drawing, installation, 2015

Les rivages du Ciel
mural drawing, installation, 2015

Indian Ink on paper, 56x 76 cm, 2015

Indian Ink on paper, 56x 76 cm, 2015

Indian Ink on paper, 56x 76 cm, 2015

Yann Bagot was born in 1983. 

He lives and works in Paris but above all he loves working in the middle of the natural elements. Graduated from L’Ecole Nationale Supérieure des Arts Décoratifs (Paris) in 2008, he works drawing, ink, engraving and the artist’s book. 
He displays his work regularly during personal or collective exhibitions in France, in Europe and in Asia, notably at the We Gallery in Shenzhen, the Gallery Less is More in Paris, at the Institut de France - Académie des Beaux Arts Paris, at the Vasarely Foundation.