365 drawings 365 dessins

Transitions in 365 drawings 365 dessins @ Openhand Openspace, Reading
24 – 27 September 2014, and forthcoming, Switzerland  6 – 17 May 2015
For this exhibition Cally Trench and Tineke Bruijnzeels made a drawing every day for a year, accompanied every week by a different guest artist. My seven sequential drawings reflect the shifting landscape observed while travelling between Hong Kong and New Zealand provided a further transition as the week went from 2013 into 2014. Through transitions of time, seasons and hemispheres the constant has been the mountainous terrain where the Hong Kong peaks morphed into the New Zealand Kaimai ranges.
White ink on 200gsm black paper; 14.8 x 76.5cm (14.8 x 10.5cm each)

Mourning Lines

Mourning Lines in ‘Book Act’ @ The Tetley, Leeds,  March 2014
Live performance  9 March 2014 accompanied by video (2006/2014)
and artist book (2010)

  • 3 book set in slipcase acquired by the Tate Library Collection

Since the first ‘ash walk’ in 2005, and subsequent video a year later, I have performed Mourning Lines many times in many different ways, from drawing lines on paper,  to simply walking between familiar and poignant places. For this event Mourning Lines comprised of three different media:
Performance: 30-minute performance drawing with invitation to the audience to participate; charcoal on paper, overall 500 x 75 cm
Video: Recording of live performance trailing ash on 500-metre walk between home and the village burial ground. DVD; silent; 9’42”; filmed and edited by Ron Suffield
Book:  Accompanying book with sequence of 7 graphite drawings made during walks.

Separations at Eagle Gallery

Punctuations, Separations and Artists’ Books
@ Eagle Gallery/EMH Arts, London
21 June – 19 July 2013

  • Books acquired by the Tate and the Victoria & Albert Museum, London 
  • Selected ‘The Best Books for 2011’ by Elizabeth Tonnard for Photo-eye Magazine, USA

Separations exhibited at Eagle Gallery, London, includes 9 prints (33 x 33cm, Giclee printed on 300gsm Somerset paper); 8 special edition cloth-covered solander boxes with books and 11 s/s prints (17x12x2cm); and individual books (24pp, 15x10cm), produced by Book Works.
Elizabeth Tonnard writes: ‘
A small, restrained book of tiny seascapes. At first they look like watercolors. The beauty lies in the fact that the photos more or less leave behind their representational qualities to become objects on top of the page. These objects are anonymous, empty, they exist in their color.’
Emma Hill, Eagle Gallery writes: A pared down, minimalist approach is apparent in the works of Jane Grisewood… Separations 2011 – 2013 is a book and related sequence of prints that were inspired by the vast tracts of water that separate the artist’s native New Zealand from Britain. Using the most basic of landscape indicators – the horizontal line, Grisewood has brought together a collection of haunting photographic images made from film, digital camera and mobile phone.’

e·mer·gence at Arnolfini

e·mer·gence artist books @ Arnolfini, BABE 2013: Bristol Artists Book Event exhibiting with AMBruno artists book collective
Saturday 20 April 2013 and Sunday 21 April 2013, 11:00 to 18:00
e·mer·gence I and e·mer·gence II  are being exhibited with the AMBruno artist book collective at BABE 2013: Bristol Artist Book Event at the Arnolfini on Narrow Quay. For book information view March 8 post: e·mer·gence…becoming visible.



Mapping Movement

JG do you remember1

Do You Remember It  – Or Weren’t You There?
@ London Gallery West, University of Westminster, Middlesex
31 January – 3 March 2013
Mapping Blindfold Slip,  graphite and carbon on paper, 42 x 29 cm each.
The three time-based drawings in this group exhibition, curated by Cally Trench and Philip Lee, are a response to Philip’s three performances, ‘Blindfold Slip I’ (The Old Truman Brewery, London), ‘Blindfold Slip II’ (The Nunnery, London) and ‘Blindfold Slip III’ (Stone Squid Experimental Art Space, Hastings) in 2010. My work attempts to record the virtual trajectory of his body moving in time and space through seismic-like marks on the paper. The marks are made ‘blind’, without looking at the paper, as my eyes track the nuances of Philip’s movement throughout the one-hour duration of the performances.