Drawing Together

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8 And even if they were, everyone is still entitled to take part in the endless human conversation: listening in is not enough. It’s a bit like solitary confinement, with the sounds of everyday life drifting through the bars. Art can be exclusive too; it’s not immune from the forces that shape the rest of human experience. But it doesn’t have to be. Artists have ways of opening up to the margins, of creating a dialogue with people on life’s riverbank. In fact, being naturally curious and working in that safe space in which people do say all the things they can’t say, they may be especially adept at making those bridges. Talking to someone may be strange indeed, but it’s life, and life is strange. François Matarasso 13 September 11 Matarasso, F., 2011, <strong>Drawing</strong> inferences, Version 2 (9/2011). Commissioned by Creativity Works as part of its Pathways Project, this work is licensed under the Creative Commons Attribution-Non-Commercial-No Derivative Works 2.0 UK: England & Wales. You are free to copy, distribute, or display this paper on condition that: you attribute the work to the author; the work is not used for commercial purposes; and you do not alter, transform, or add to it. http://web.me.com/matarasso
Questions About Communication 9 The artist: Does art communicate? How do we communicate across divides? How do we communicate when we’re in times of transition? How will the drawings interact? How will the artists be viewed, in relation to each other? How will their artworks be viewed, in relation to each other? What roles do notions of authenticity, professionalism and skill play in how the drawings are received by participants or by any wider audience? Is it possible to bridge the two ends of a spectrum in my practice (socially engaged arts practice on the one hand and a studio/ ’fine art’ practice on the other)?
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Page 3 and 4: Drawing Together 1 This project gre
Page 5 and 6: Once an exchange got under way it h
Page 7 and 8: Drawing Inferences 5 Talking to no
Page 9: 7 This project is different. It mak
Page 13 and 14: 11 How do I control how I represent
Page 15 and 16: A fragment from a fictional dialogu
Page 17 and 18: Creativity Works 15 Creativity Work
Page 19 and 20: Teign Ward, Fromeside, Avon and Wil
Page 21: With Thanks to… 19 The artists an

Drawing Together

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