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.

Draw to Perform

Draw to Perform – Drawing Performance Symposium
@  Arebyte Gallery and ]performance s p a c e[ London
5-7 December 2013  Curated by Ram Samocha
Participating artists: John Court, Tony Orrico, Michel Platnic, dolanbay, Michael Namkung, Vera Martins, Daniel Ben-Hur, Judith ann Braun, Stuart Brisley, Robert Luzar, Kimbal Quist Bumstead, Katrina Brown, Ram Samocha, Hannah Turner Wallis, Nazir Tanbouli, Sally Madge, Jane Grisewood, Carali McCall, Maryclare Foá, Birgitta Hosea, Diogo Pimentão.

Draw to Perform curator Ram Samocha invited 20 artists to participate in the event, 10 giving live performances, including Carali McCall and myself. With cameras strapped to our bodies, we repeatedly marked the wall with charcoal and graphite as we moved back and forth throughout the 30-minute duration of the line dialogue performance. The 3-day symposium included evening video screenings as well as live drawing performances and discussions led by Ram Samocha, Nick Kaye, Professor of Performance Studies, University of Exeter and selected artists. Samocha writes: ‘The symposium will concentrate on the connection between performance art and drawing and the relevance of drawing as a modern medium. The symposium includes video screenings, live drawing performances, talks and lectures by artists and art historians.This symposium aims to promote the growing stream of live drawing performance, to distinguish it as a unique entity and allow it to rise from the eclectic, wider definition of performance art.
The twenty participating artists all consider their body of work to be fundamentally concerned with drawing, in that for them drawing connects elements of line, movement, space and time.’


Dancing with Sirius

JaneG 1Sirius 329dps

  • Acquired by the Tate Library Collection

Dancing with Sirius: lines of light   (series of prints and artist book, 2013)
In the high altitude of the Chilean Andes, the cloudless sky revealed a dazzling canopy of stars as night fell over the Atacama Desert, a stargazer’s paradise. Standing on the summit of the aptly named Cerro Tololo, ‘mountain in front of the abyss’, and surrounded by the imposing white observatories in the dark cold atmosphere, there was one star that captivated me – Sirius – the brightest star in the night sky, and visible in both southern and northern hemispheres. Hypnotised by its brightness and movement I spent most of the night with a handheld camera intent on following this one dominant star. The random choreographic gestures of my arms, like drawing in the air, created lines of light, ephemeral ghost-like threads danced across the sky as each one became suspended in time in my camera.
Artist book: 48 pages; 160 x 210 cm; 28 photographs; edition of 30; produced by Book Works, London

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.

On Duration

JG on duration

Performance Research, Volume 17 No. 5 October 2012
Published by Routledge ISSN 1352-8165 (print) ISSN 1469-9990 (online)
To view article Click: On Duration 

Jane Grisewood and Carali McCall
The artists’ pages in Performance Research journal’s On Duration October issue present images from our performative-based art practice, which interrogates the relationship between drawing and performance to explore themes of duration, movement and the transmission of energy. The repetitive and continuous action of mark-making in the one to two-hour performances identifies the body as a tool to stretch time and record temporal presence, while challenging how the body experiences duration through drawing. Carali and I have collaborated on drawing performances in the UK and abroad for six years, most recently the two-hour Line Dialogue 5 at the opening of the ‘Again and Again and Again’ exhibition, Vancouver Art Gallery, Canada (view also Again and Again post). 

Again and Again and Again

JG again and again1 JG again and again2 JG again and again3Vancouver Art Gallery, Canada
12 May – 3 September 2012
The curator of VAG invited Carali McCall and myself to perform a site-specific collaborative wall drawing, Line Dialogue 5 (left), on 25 May for the opening of the summer exhibition, Again and Again and Again: serial formats and repetitive actions. With cameras strapped to our bodies, we repeatedly marked the wall with charcoal and graphite as we moved back and forth along its 40-foot length throughout the two-hour performance.

REVIEW “AGAIN AND AGAIN AND AGAIN: A SERIOUSLY SERIAL EXHIBITION AT THE VAG On at the Vancouver Art Gallery from now until September 3rd is Again and Again and Again, an exhibition about seriality in art. The exhibition touches upon a plethora of latent themes within the seemingly simple parameters of repetition, from the ‘mechanistic repetition inherent in much domestic work and industrial labour, to the multiple versions afforded by technological developments, to the limits of endurance that have been tested by performance artists’. Sol LeWitt, Agnes Martin, Frank Stella, Ed Ruscha’s iconic Los Angeles parking lots: the heavy-hitters are all there. The exhibition isn’t all history, however; it abounds with striking contemporary works as well, from Song Dong’s Fill the Sea, a symbolic comment on the British occupation of Hong Kong, to mesmerizing photographs of Giverny by Stephen Shore, to a sprawling collaborative drawing by Carali McCall and Jane Grisewood.”

Winsor Gallery, Vancouver, 10 August 2012