"'Edge Clock,' floats on the wall as the earth revolves through space, at first reliable and permanent, then simultaneously delicate and fragile. The drawing on the wall and fabric surround the core painted on canvas. The darker stripes are human energy gathered around the infinite white center, held by gravity and the uncertainty of the moment."

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"I think of drawing and traveling as the same. When drawing, my eyes walk forward, my hands excavate the invisible, the psychological, the symbolic - the turbulence, the mind fog, the twists and turns and the social ghosts. Drawing builds bridges to understanding the world around me."

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"In this work, I have incorporate contour drawing as an autobiographical process. Inspired by engravings on tablets of Persepolis Fortification Archive, this drawing is an iconographic map of fingerprints."

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"I draw the female body responding to the contours and the form. I layer the original drawing with multiple shapes, and the sensation my arm recalls while pressing up against the canvas or paper."

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"The Return of the One, was inspired by the painting Flaying of Marsyas by Titian and it shows a hypothetical return of Jesus Christ surrounded by paparazzi on the red carpet."

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"I approach drawing as a reflexive medium to engage the personal and cultural memories of my birth country, Ghana, and the spaces I occupy. I mine family photos, snapshots, and the web, which serve as a mnemonic framework. My work often treads the borders of the abstract and representative languages of image making whiles poking at the hierarchy of painting genres."

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Zinar is a Kurdish term that refers to the landscapes of low-laying scrub in Anatolia. This landscape is from the village where I grew up; I made the drawing while exploring the cultural landscapes from my upbringing there.

Geographer Carl Sauer describes cultural landscapes thus: "Nature does not create culture, but instead, culture working with and on nature, creates ways of life. And, human impacts on the landscape to be manifestation of culture. To understand a culture, one must learn to read the landscape.”

"This drawing is part of the Covid-19 drawing diary by Reut Asimini. The lockdowns in Israel as well as staying in a small apartment with a one-and-a-half-year-old baby with one pack of paper and several pencils and crayons - all gave birth to daily drawings that capture the experience of a mother and her daughter amidst a plague."

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"I believe drawing, at least for me, springs from a kind of hermetic urgency and agitation. In the past year the general subject of hermeticism has become a mostly universal state amongst those of us who have chosen to limit contact with others during the course of the pandemic. This was scratched out slowly between larger projects, and it was finished in early 2020, shortly before the onset of lockdown."

"I've been researching the history of queer spaces (now defunct bars and clubs only carried on by word of mouth) across my home region of the US Gulf South. My findings have led me to ephemera like event posters of past performances which utilize typeface, frames, and ornamental design to symbolize fantasy, nature, desire, disclosure, and exile. With this drawing, I created a poster for a pseudo event–an imagined occasion where abstract painter Forrest Bess is headlining at an unspecified locale."

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"1 of 100 identical drawings. Each drawing is made up of 18166 lines."

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"Florence Reece, the prolific labor union songwriter, is perhaps best known for her song “Which Side Are You On?” (1912/1931) about the bloody Harlan County coal miners union strike. I made the paper out of various materials (including cockroaches, labor union member dues booklets, horse skin, and the rest) as one kind of portrait, and the drawing itself is another kind of portrait. What I like about this drawing is that the text can be an action, the image can be a surface, and the surface can be a spirit."

"The real, the physical and the perceived intermingle to become an immersively tactile and ephemeral environment. Light and shadow layer together, reflecting onto glass and ceramic surfaces, creating a luminous installation that explores the perpetual and haptic qualities of projected images."

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"My relationship to drawing is diaristic; it happens every day. Through drawing I meditate on the effective nature of seeing, and how much of ‘seeing’ is actually just a different way of ‘reading’. Through color and shape I search for the words that can’t yet fall out of my mouth, and focus their morphology into something approachable yet startling. I am not a poet."

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During the early days of the pandemic, while at a fellowship in Alabama, I planned on making a drawing about my relationship to my daily running practice, which included a route through local cemeteries as a way to minimize human contact. My daily ritual was transformed when I learned of the murder of Ahmaud Arbery, a young black man who was chased down and murdered while jogging in Brunswick, Georgia on Feb 23, 2020. After that, my daily practice was forever altered as I discovered Arbery’s story followed me on every run through the streets of Alabama and its historic cemeteries.

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"I am fascinated by the idea of an essence being pressed out of organic matter to return to the soil. In this piece, a figure lies atop a mound of rocks mirroring a figure being smashed below. The accompanying panel depicts carnations and thistles hung to dry. The pigments used are harvested from plants, insects, and minerals: another form of extraction."

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"(F)ame 4 owes its circular shape and abstract pattern to the early illustrations of the COVID virus. It owes its small scale to the forced intimacy of the pandemic and that fact that the paper was torn using a 45 record of Irene Cara's hit 1980 single, Fame."

"For the last few years, I have developed an ongoing series of autobiographical watercolor drawings that act as a vibrant diary, providing insight into my inner life and thought process. The resulting images are panoramic long-shutter exposures developed on-site and in public -like handmade polaroids that record more than meets the eye. At the moment, the archive houses more than a thousand drawings that record my ongoing pilgrimage."

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“This drawing is one of a series of graphite rubbings on unstretched stained canvas. I’ve been making them at various sites on the road between New York and California during this last pandemic year. The process allows me to connect with the echoes of histories embedded in object surfaces. The result is a materially varied set of transcribed bodily perceptions, grounded in the subject of landscape.”

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"The building where I worked from 2018 to 2019 was previously the residence of Jeffrey Epstein in the early to mid 1990s. Epstein was an American financier, convicted sex offender, and patron of the arts. The video La Porte de l’Enfer explores the history of this building and by proximity its multiple intersecting stories through drawing, visual analysis, and anecdote."

"I asked Lisa her thoughts about what I was calling “presence” versus “re-presence” or representation. She told me about her experience swimming in the ocean – of being a small figure in such a large field of water and of a particular color experience that sometimes accompanied her seaward paddling. We used the word phenomenology. I asked her heavy questions about a relationship between politics and structure and she answered in a more lighthearted way that my colorful work was exploring my own consciousness."

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"In recent years, boars established themselves in cities in the northern part of Israel, and their numbers greatly increased during Covid-19 pandemic. I like them because they are equally perceived as magnificent wildlife creatures and as filthy pests. This drawing is part of a series dedicated to animals and plants labeled as pests, nuisances and invasive species."

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"As a concept for drawing, my works are informed by the act itself as a way of challenging the hierarchy of painting. My drawings blur the line between pigmented liquid substance and the act of mark-making with dry medium. Increasing the opacity between both genres of making art but making aware the proximity of materials and the black body. What is black, If not the container of all colors? If so, shouldn't black be the most valuable color? I think of the qualities of charcoal; both the socio-political implications and the persistence of the material to transform not just the surface of the ground but the environment I work in— it gets on my hands, my clothes, the floor, the walls, and ultimately in my skin."

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"This drawing is from my ongoing series "_scripting_" (2019-). Referencing memory as a performative archive and material, the series attends to the capacity of digital landscapes and processes for imagining life beyond subjection."

"The Wall is a site specific mixed media drawing. The illusion of the wall displayed on the depicted wall, begs the question of the wall's existence. The drawing, if it is to be seen, requires the viewer to focus on something that we see constantly but fail to notice. The wall becomes a question for what is significant and plays with time in reverse, tracing marks to capture the past."

The drawing series entitled «DEMONstration», explores rituals, ceremonies and other cultural phenomena related to mystical thinking in culture, aesthetics and politics.

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I have been making specific drawings, cartoons really, packed with humor and contradictions, skewed historicisms and personal critique, a satire and rage that spears to the heart of America as I see it, but more than that, I think. That being said, I trust Drawing as a vital language to unveil the stuff I cannot fully understand, and process information more intricately than my default conscious logic can unpack at any given moment.


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"What will happen when unstoppable force meets immovable objects? Neo-nationalism creates invisible domes to divide the world, but there are no walls without cracks."

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"Like a table that the writer uses to write, the roommate uses to forget the keys, the one that plants grow and die and grow, where bottles and wax accumulates, where Halloween candy hides… this is a surface for what you need, what you forget, what you do, the small things of life which live between one another, shuffling endlessly, falling off, putting on."

"I am interested in making figurative work that straddles the line of intentionality and aesthetic. I want my work to speak to history, family, ethnicity, place but not to act as a protest poster or the product of good research. My hope is that my work touches the sensation of the viewer be it wonder, fear, repulsion, warmth, strength, or shame."

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"This work is part of an ongoing investigation of the influence of cultural and religious stigma surrounding the expression of female sexuality and its complexities. The project references my birth country Nigeria, as a starting point for exploring trauma, pleasure, and the politics surrounding desire, and the normalization of its discourse."

"I drove to Costco, bought a carload of non-perishable food, and disinfected each item before bringing it inside the house. That April night in my attic studio, I made this drawing about canned foods, how great they are, and how they can go wrong. It is part of Essential Knowledge, an ongoing series of instructional drawings teaching skills for success in challenging situations."

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"This collage series is part of an interdisciplinary art project that I began in 2018, titled "By Way of Revolution," that celebrates the often overlooked histories of BIPOC women's labor within activism, and the generational impact of civil rights eras of the past on today’s social justice movements. I begin with collecting oral histories from contemporary BIPOC women activists, female descendents of prominent civil rights activists, and extensive research in Black liberation archives at university libraries around the country. In mixed media collages, images of historical activism are transformed into crowns of adornment on images of contemporary women. A lot of the earlier artwork in this series featured BIPOC students around the country who have engaged in my performance as protest workshops. Since the pandemic, I have been focusing on Black women activists in Los Angeles and in New York City, including Black Lives Matter founders and chapter leaders, and artist-activist groups that formed since the 2020 uprisings."

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"The drawing, Future Functionless, references my built surroundings in Albuquerque, New Mexico. In my neighborhood, I observe the ever-"improving" array of solar panels, security systems, twisted cable assemblies, and TV dishes, which chaotically augments the battered plaster and crumbling historic adobe buildings. The relationship of forms in this drawing reflects this recurrent collision between obsolete and emergent infrastructure."

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"What would our lives be like if we inherited a Femme Genisis? I make work that anchors [femme] queerness as a spiritual center. My drawings utilize the scroll as a format to conjure ancient texts, and reference comics as a tether to the present. I use symbols the way graffiti artists use the alphabet: while the characters are meant to be read, they are distorted beyond immediate legibility and become something else that falls apart somewhere between an image and a text. I draw to create a visual language that alters our baseline symbols for being human."

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"This Image is part of a series of ink drawings on Yupo paper titled “Protest Series 2019-2021”. The characters in the series are singular phantoms some with legs akimbo, fists raised, some that leap, high rollers, some that walk in thought heads down, some that fall to pieces and some that rattle chains."

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"I think of my work as describing an alignment of interiority and exteriority; referencing the mingling of psyche and design that we encounter in daily life. Drawing allows me to express this in-between state of being, bringing the sharp palpability of lived experience in balance with the ambiguous nature of thought and memory."

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"This drawing pairs a moment of insecurity, heartbreak, sadness, resilience, prosperity, and friendship with accessorized characters in order to create a narrative that places the queer experience at center stage. By depicting intimate interactions among lovers and friends, this drawing brings forth the idea of chosen family and the importance of community and emotional support among folks who aren’t included within the cis-hetornormative norm. I drew inspiration from my own personal experience, my cultural roots, and modern-day internet culture to create an image that reveals the affectionate complexity of everyday life as a queer person."

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"In my drawing process I am reaching out into a multilayered space dimension with a heightened sensitivity, weaving a psycho-morphic energy field. From the interplay between line, rythm and colour emanates a vibrational atmosphere as a reflection of the interspace between form and formlessness. The viewer's own inner matrix can resonate in a silent dialogue with these networks and expand into new spheres of experiencing complexity and harmony."

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"During the pandemic drawing has again become central to my studio practice. I'm beginning to use the language and symbols from these diaristic and double-sided drawings in my tapestry work. Here an abstraction of ceramic 'lady head vase' (or 'head planter') gets wrapped by a stem/snake and entwined with the imagery of the Janus face, looking both forward and back."

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"I doodle while the TV is on. The images and words coming from the screen converge with my own inner voices and mental representations, resulting in mixtures of what is seen and heard with what was already within me. These montages are the basis of my work at the studio. This piece plays with the imaginary life and interaction between objects and explores the psychological conditionings to existing schemes."

Let me taste purple silk monsoons in these Bathinda Fields is an embroidered tapestry depicting women laborers working in the fields of Punjab, and Blood Money is an embroidered tapestry depicting a punjabi man and woman holding a portrait of their son who has died by Suicide. This tapestry is a part of a larger series centered around the Green Revolution – a U.S. sponsored agricultural framework based on high-yield seed varieties, intensive irrigation and drainage, and chemical fertilizers and pesticides – has damaged the landscape in Punjab by causing declining water tables, widespread soil erosion, low forest cover, and an epidemic of farmer suicides.

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“This piece was triggered by an event, a fire that destroyed a vast area of iconic coastal cities in Chile. Tilted Heritage is an attempt to link contemporary politics to the history of colonization and its repercussions in identity, cannibalization of culture, and subversion of meaning.”

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The image "After Eero Saarinen’s Milwaukee County War Memorial Museum" was made in response to the Global War on Terrorism. The structure in the drawing is overpowered by nature, specifically the"Bougainvillea glabra, Trinitarias or Paper flowers" a ubiquitous plant in the landscape of Puerto Rico. The museum was created to commemorate Veteran's Day. Thousands of Puerto Rican military personnel have lost their lives serving in the US military in wars where the goal and the outcomes remain unclear.

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"Local Deejays Uptown Vinyl Supreme craft the playlist for their next party in their Bronx apartment, and preserve the art of the sound selector, vital as one of the elements of Hip Hop Culture."

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"I am merging drawing and collage to explore the possibilities of abstraction and geometry, while also interested in the sculptural dynamics of the process using basic tools like graphite and colored pencil. Through this I investigate opposing concepts, such as density/lightness, positive/negative, control/random."

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"'Stages of fallout' is an ongoing series of graphite drawings that explore the relationship between physical and psychological spaces of safety, shifting from representational architectural drawings to imaginative non-spaces."

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“For me, drawing is my own definition of time. The drawings are like a translation of experiences into a system of signs.”

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"My charcoal drawings are composed with multiple torn papers in which various scenes of geological formations, domestic objects, animals, and weather are interspersed throughout the physically manipulated paper. The drawings evolve into object-like configurations to convey the dynamic forces I feel in the world and in us—forces both intimate as well as social and environmental."

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"This page from my comic book project, The Context, introduces the teammates to their newest member. After 60 pages of conflict, a group identity is formed, and within it, the super beings come to terms with who they are, as individuals within a collective. Sort of. They'll mess it up, but for now, they are a team."

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"The works are based on texts that capture my attention from my everyday life. I choose the most indelible phrases, extract from my perception what I think are the most important parts of each day, and transform them into a visual drawing practice."

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"[This drawing] combines four logos: Chase Manhattan bank, Kellogs, PBS and Nike. What interests me is the way that the viewer’s eye never settles. As soon as it focuses on one logo, another draws it away. So, the drawing is always in flux." ⁣⁣⁣

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"Fresh off the Big Lie of election fraud, right-wing extremists attempt to elude responsibility for the terrorist attack on the US Capitol Building. They rub salt in the raw wounds of democracy by claiming that the attack was “really” organized by the Left."

"A self portrait that pictures three figures exposing their vulvas in an ordinary urban landscape. The multiple portrait is inspired by the mythological bond of the Greek Charite sisters. Each self is portrayed in different clothing but work together to cathartically respond to their environment."

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"In this watercolor you can see a scene of an empty street in Soho, together with a Serbian song from the 70s, playing in my head. In this way I tried to represent a dissonance of my outer and inner worlds, coming from the Balkans and witnessing these specific times in NYC."

"In 2015 I began making large charcoal drawings between Philadelphia, Pennsylvania, and Bitola, Macedonia. The drawing subjects are generated by the notion of being in two places at once and represent fragments of a larger work that I think of аs a time capsule. These drawings are often sourced from my daily walks in Philadelphia and Bitola and point to current events which call for the recalibration of the past and imagine various futures. This particular drawing was a response to the political and social unrest during the summer of 2020 across the United States. It depicts a Philadelphia public monument of Christopher Columbus following the decision for its removal and highlights one of many points of tension in the frayed social fabric of the United States. In this photograph, the drawing is projected on the wall of one of the numerous empty homes in my neighborhood in Macedonia. Large numbers of Macedonian families and youth have been fleeing the country due to economic and political crises, lack of opportunity, and cultural isolation. Young people are scattered around the globe in search of a better life. The photographed projection of the drawing documents a double exposure that traces my movement between two cities, and assesses their political and social landscapes to expose vulnerability, evoke empathy, and contest colonial structures."

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"My bio-char drawings are created on-site in the Konza Prairie, located within the Flint Hills of Kansas. Created through the practice of pulling paper across the grasslands following the prescribed burns, a process critical to maintaining the ecosystem - the large-scale works on paper embody a record of the land’s cycle of regeneration and an investigation of my capacity to respond to the surrounding environment."

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"I’m fascinated with the idea of monster theory -the notion that societies create their own monsters to signify people, ideals, and cultures who are deemed "other, "as a means to maintain power and control over people. I’m interested in how Black bodies, psychologies, imaginations, futures and humanity navigate these systems."

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“In this project, I want to emphasize the invisible labor behind architectures and institutions. I want to convey a duality: the soft memory of factual things versus the harsh construction of the scaffolds required to build new homes. By using handmade scaffolding structures with industrial building materials such as SCH 40 steels and cheeseboroughs, I want to bring this perspective of my grandfather's background as an architect while he was punished for the donkey political cartoon in the 1950s. The steel changes its color from painted shiny black to grey yellow rusted blur in the spits of a few months. The materials have their own memory. The scaffold structure also conveys a metaphor for "work in progress" or “temporarily being placed at a mobile location”.”

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InYoung Yeo is an artist based in Seoul. Her work expands from artistic materialization of text, drawing, and installation works to curatorial projects with interdisciplinary approaches in topics of Gender, A.I. and Urbanization as her main area of research. Exploring various forms of manifestation in patterns, numbers and dimensions based on logical structures of the human 'mind' and coincidences in the multi-dimensional time and space, her questions start from researching differing micro-narratives with a focus on the cyclical ‘relation’. Yeo has put together and participated in various projects, exhibitions, residencies, talks, and workshops in Korea, Germany, Southeast Asia, among others.

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