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.

Thursday, March 23, 2017

Open Call: What is a drawing?

Expanded asks artists to consider the question, "What is a drawing?' Selected responses will be published.  Images are permitted but not required.

Send responses to Enter "What is a drawing?" in the subject line of the email, please. 

Wednesday, March 22, 2017

Monika Supe: The Progress of Time

Flip Book. 2011. 

Flip Book. 2011.

I am interested in space and in our relationship to space and time. I want to know how we perceive these and how we react in these. That’s why questions concern me like: what is the difference between “space” and “body”; what means “inside” and what “outside”; when do we feel comfortable somewhere inside, when do we feel barred from something. And also: what is the difference between “past”, “present” and “future” and how are they connected.

Against this background I make drawings in two and three dimensions. Often I create objects built from wire, because wire is like a line, so I can draw into space in three dimensions. I can check out the border between two-dimensional expanse, body and space. Sometimes I reduce wire to coverings by crocheting. People can stretch them and slip inside. I document their movement by taking a series of pictures and so I can hold on to that moment.

Koerper - innen Außen 7. 2012.

Objektumzeichnung 1. 2012. 

Crocheting, knitting or sewing are manual methods used in handicraft. I like them because I can visualize the working process: with their eyes visitors can follow the way of wires, threads or something else and are able to trace back the progress of time. So I can visualize and store something which is normally invisible – time. That’s why also I make drawings in a special way: their structures look like knitting. All the meshes are connected in a linear way and they are woven in the same direction how they are drawn. It seems as if time has to be linear, but physics reveal something different.   

Also I play with dimensions and our perception. I create objects and also use wire pieces but in a different way. These pieces cast shadows on the background which look like drawings. Some of these shadows connect themselves with a real picture on the wall, other are flexible according to the angle of lighting. All of them create the illusion of space and body, but nothing is
what it seems to be.

Objektumzeichnung 2. 2012.

Objektumzeichnung 3. 2012.

Umzeichnung Fuss Hand Haende 2.

Umzeichnung Hand.

Chronograph Endlos. 11 5.


1967 born in Munich. 1995 Diplom-Ingenieur Architektur, Technical University of Munich.
1998 Architect, Bavarian professional Association of Architects.
1998-2000 Assistant Lecturer in construction and design, Technical University of Kaiserslautern. Since 2004 lectures at universities, at the Bavarian professional Association of Architects and the Ministry of Education and Cultural Affairs and at Fortbildungsinstitut der Landeshauptstadt München. 2006 Doctorate with Honours, Technical University of Kaiserslautern. 1995-2010 Lecturer in architectural graphics, drawing, methods of design, theory in perception, theory in aesthetics and design, University of Applied Sciences Weihenstephan Freising and Academy of Fashion and Design AMD Munich. 2010-2011 Professor for interior design, Academy of Fashion and Design AMD Munich.
Since 2011 freelance artist.

Monday, March 20, 2017

The FID: Resetting the Course, Respectfully

Recently, The FID announced that it was eliminating the FID Prize and was focusing on a new set of goals. The details of their new direction and evolution can be read about on their website. This organization, based in Paris, France, is an "independent cultural institution" focused on international drawing. 

While the cancellation of this prize was surprising, it is an interesting and bold move. Why stop something that gained international respect and acclaim?  How many times do artists change their way of working that often leaves their viewers, friends, and family baffled? Yet they do because they feel they must.

Stay tuned to new developments by checking their website and Facebook page.

Wednesday, March 1, 2017

Justin Sorensen: Intersections

I believe in speaking simply. In less than ten years I’ll be forty, and in thirty-nine years I’ll be seventy. I assume at that point I’ll finally have something to say if I’m not too tired to say it. 

I was asked once if I was religious. When the question came I figured that I was not speaking clearly enough, that maybe I needed to start over. I then realized the question came out of what I was fixing my words to, that if anything I needed to be seeking clarity in my gestures. As much as I wanted to, I couldn’t just say yes.

To put it simply, my work circles around a religious platform. I imagine it to be tall and white, which is to say I don’t really know what it looks like. I can’t quite see the shape. Moreover, it’s not clear to me if being religious means standing on top of it, or committing myself to traveling around it.

The Transfiguration, gold leaf on rock

    I Went In Bitterness, mixed media on paper
    - After drawing Moby- Dick on a sheet of paper measuring over 18 feet long, the image
      is then removed from the wall and rolled up, never to be seen again.

Portrait of Jorge Luis Borges, graphite on acrylic ground on paper

    August 24th, detail, graphite on acrylic ground on paper
    - From a series of drawings exploring the landscape around my childhood home in

Justin Sorensen is an artist based in Mount Vernon, Ohio. Orginally from Northwestern Pennsylvania, Sorensen received his BFA from Kutztown University in Kutztown, PA before moving on to complete his MFA at the Rhode Island School of Design in Providence, RI. His work has been shown throughout the United States, Canada, and Japan. His expanded studio practice explores perceptions of time, religion, history, and nature at the intersection and overlap of performance, sculpture, photography, and drawing. See more of Sorensen's work at

Monday, February 13, 2017

Interview: Timothy Harding: Between Dimensions

Floor, Corner, Ceiling, 2009, graphite on paper, variable dimensions 

     Constructed Corner Drawing, 2013, graphite and aluminum foil tape on paper, 
     various lighting and electrical, variable dimensions

Drawing, 2015, graphite on hand-cut paper, various lighting 
and electricalvariable dimensions

Can you discuss how the relationship between the 2D and 3D plays out in your work?

I became interested in exploring three-dimensional space towards the end of my undergraduate studies. At that time I was making works that borrowed heavily from the traditions of abstract expressionist painting. Without having much background in sculpture, I became compelled to create a piece that had many elements that emerged out from the painting surface in a relief format. I think I had just hit a dead end with my paintings and heading towards three-dimensions seemed to be the logical thing to do. Over the following years, I removed the painting methods and focused more on drawing. Ultimately I ended up with the installation based works that were produced with paper and lighting. I started doing the cutout drawings because I felt it liberated the drawing from two-dimensional space and allowed it to become an object. I became (and still am) very wrapped up in works that are experiential and rely heavily on being perceived in space by the viewer.

86” x 74” on 70” x 58”, 2015, acrylic on canvas, 76” x 72” x 9 

64” x 52” on 52” x 40”, 2015, acrylic on canvas, 55” x 44” x 10” 

2 20” x 18” with Chair, 2016, acrylic on canvas, found chair, 32” x 21” x 20” 

      21” x  19” x 13” with Wheels, 2016, acrylic on canvas over found frame, casters,    
        lights and dimmer, 21” x 19” x 23” 

17” x 18” with Legs, 2016, acrylic on canvas, found legs, 16” x 17” x 18”

What role does space play in your installations and wall pieces?

As I stated in the other response, I am very interested in three-dimensional space and having it come in to conversation with traditionally two-dimensional methods and materials, such as graphite line drawings. While in graduate school, I began looking at the architecture of people like Frank Gehry, Zaha Hadid, and many others. I was fascinated by their formal approaches to building but also how these formal concerns shaped the interior spaces of their buildings. My installations had a similar intent in engaging interior space. The obvious difference being I had to deal with an already existing space where they have the opportunity to create their own. This is also where the lighting elements came from, I wanted to have an element that allowed the work to more aggressively confront the existing architecture.

Can you talk about the role that "sagging" grid has (and its evolution) in your installations and singular drawings/paintings?

The grid is the most recent formal device to enter in to my work. I started using it about three years ago. I initially it was the background for an installation, a uniform field for me to compose a work on top of. Shortly after this installation I decided I wanted to make singular works again as I had been working exclusively in installation for a few years. I decided to move back towards painting more directly, something I hadn’t really worked in since my first semester of graduate school. I decided on the grid as my subject because it gave me a constant to work with, I didn’t want to have to come up with the “what” to paint each time. I also see the grid as a universally recognizable thing without being overtly specific. I do this to continue that engagement with the viewer. My aim is that they immediately recognize the grid as a subject and with the sagged or crumpled elements it becomes this familiar thing gone awry.

     Loop (installation View), 2016, acrylic on canvas, graphite on hand-cut paper, 
     wood, various lighting and electrical,variable dimensions 

Loop (installation view), 2016, acrylic on canvas, graphite on hand-cut paper, wood, various lighting and electrical, variable dimensions

Who are your influences? 

Over the years I have had many different influences in painting, sculpture, and architecture. One of my longest standing influences is probably Frank Stella. I often joke that I discovered and appreciated his work in reverse order from what most people do. I first encountered is more three-dimensional works from the past couple decades and worked my way back to his black paintings of the late 50s. In addition to him, the work of Robert Irwin and his manipulation of space inspires me. As mentioned earlier, Frank Gehry and Zaha Hadid. More recently, sculptors like Sarah Sze and painters like Laura Owens. There are so many.

What is new in your studio?

I’m at a place of experimentation in my studio right now, as I don’t have anything specific I am working towards. I’ve been playing with using the paintings as pieces in installations, much like I used to do with paper.  I seem to have this trend of working in installation then in objects and back in installation, and continued that cycle. I’ve also been playing with combining my paintings with pieces of furniture. It’s an idea that still very much in development but I’m interested in the work taking on a social space of sorts. I’ve been working in architectural space for some time and furniture obviously is a part of that space, but I feel it gives the work a different social context.


Timothy Harding is an artist based in Fort Worth, TX. He is represented in Dallas by Cris Worley Fine Arts and is Assistant Professor of Art at Tarleton State University in Stephenville, TX. His work can be found at