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