Suburban summer. 2001

Prize, Popular, Star, Delight. 2002

Bloom. 2002


An example of an imaginative grouping. detail

An example of an imaginative grouping. detail. 2002

dessin paper and carbon. 1660 x 1500mm



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Monique Redmond. 6 March 2006

Drawing is a great multi-tasker. No longer just a preparatory step in the art making processes of traditional disciplines, drawing now maintains a distinct place in contemporary art, one that is characteristically often more experimental, explorative and complex. Drawing employs a vast range of methods and visual codes that situate it right in the centre of contemporary art practice.

The thing I like most about drawing is its ability to demonstrate. Much of my art practice employs drawing method as its primary mode-of-operation. I think about drawing as a possibility, a frame in which to think about ideas, develop them into concepts and generally explore, extend or expand dialogue.

Drawing gives us permission to experiment, to perhaps not know the answer but pose an idea, to suggest a way to interpret, to experience and understand both subject matter and ideas we attach to them. I like drawing because it means I get to play, to 'wait and see what happens'. I am interested in how drawing can perform as a finished work, without necessarily conforming to the characteristics of 'finish'.

I label some works as drawings, because of their ability to express an idea succinctly and without elaboration and at times to do so with a sense of finite ambition. By this, I mean that drawing can express an idea, discuss a subject, explore a concept in ways that a more constructed and discipline focused work might not. Sculpturally, drawing invites a shift of focus in terms of media, material and process. The competencies of procedure are not necessarily key to the viewer being able to understand the potential of what lies before them. In some ways, drawing provides the potential or possibility of an idea that might only be revealed as a statement in sculptural form. Drawing also has an ability to summarise content and context through the management of technique, process, media and material. It is useful to me as a strategy for determining how I want a work to be, whether it needs to be developed in another direction, for investigating practical concerns and thinking about how I might construct a sculpture or installation.


I deliberately use language that belongs to drawing.

For example;

The 'sticker' drawings utilise commercial labels as a means to code the images that lie behind them. This method is a metaphor for visual codes existent inside and outside suburban zones.

The 'blueprint' drawings utilise blue coloured pencil to refer to blueprints, outlining the architecture of the suburban everyday. The layers behind the white stickers, between and on front merge to represent the peripheral relationship we have to the spaces that exist between places.

The 'embroidery' drawings employ freestyle embroidery in their construction. Utilising a series of stitches as a series of marks, I embroider directly from an object or image onto linen. The notion of the expressionistic mark and illustrative representation are brought to the forefront, contextualised by the traditions of embroidery and contemporary drawing itself.

The 'suburban prop and object' drawings utilise a range of objects (objects as materials/ drawing media) to set up a series of narratives, of exploratory dialogue about suburban site.


I make other types of drawings too, ones that are not represented here. Drawings that explore a tiny idea, describe works I have already made in a new way and even drawings that explore ideas that I don't think of as artworks when I first begin. They are labeled as drawings because they provide insight and understanding, and supply me with information to make decisions. For these drawings I use methods that are action-based, stacking, arranging, placing, blocking, outlining, covering, merging.

The broad-scoping nature of drawing is apparent in my practice. My work often locates itself in the notion of proposition, of proposal and potential. In asking a viewer to contemplate, I am asking them to engage in a metaphorical platform of sorts, to engage with the performative side of the drawing.