Drawn from Turner
Cath Hughes, Tate
Cath Hughes is a practising artist and works as an artist educator with a range of audiences at Tate Modern as well as other London galleries. She trained in Fine Art at the Ruskin School of Drawing and Fine Art (1991-1994), specialising in painting. Current work explores the urban landscape of East London and recent exhibitions include a solo show at Sutton House, Hackney in September 2006 and participation in the group show Twisted, Cognitive, Sublime in October 2006.
Sarah Praill, MA student, Camberwell College of Arts
Sarah Praill is currently a student of the MA Drawing course at Camberwell College of Arts.
I chose this drawing because of its gestural energy and speed. I began with the boulder on the left and in wanting to draw quickly, found myself rather lost. I wanted to keep the energy and diversity of the marks whilst remembering where I was. I made two attempts at the drawing, bringing a preferred pencil with me the second time because I felt limited by the white paper I originally worked on. I found that being one step removed from the original experience of the landscape and copying an already encrypted and encoded notation of Turner’s experience left my drawing lacking the same conviction. I was left with a profound appreciation of Turner’s wide ranging vocabulary of mark making and his decisive confidence in describing this complexity with such an economy of means.
Tony Rodgers, Tate
Tony Rodgers is a Gallery Supervisor at Tate Britain. He has practised drawing and painting all his life and completed a printmaking course at Croydon College of Art (1992). He has previously worked in schools, undertaking art projects with pupils. His own work includes design logos and fine art which he has had exhibited at various locations.
I found Turner’s Cascade of the Chartreuse an interesting sketch to work from. I could imagine him working on this at speed, adding his finishing touch of highlights.
Whilst working on this for approximately two and a half hours over a period of three days, I tried to visualise the energy that I believe Turner unleashed when he executed the original. I set myself a task of working with this same energy. I found myself working much faster than usual, not being finicky with detail and was very aware of trying to avoid using an eraser.
I started from the centre of the horizontal line, where the top of the waterfall starts, and then worked outwards. Although it seems likely, I cannot be sure if this was Turner’s approach, but this method worked for me.
I found it a privilege working on this project and it gave me an insight into how Turner may have gone about making the original sketch.
Rachel Sopher, BA student, Chelsea College of Art and Design
Rachel Sopher is a painter and mature student, due to graduate in a BA in Fine Art at Chelsea College of Art and Design. Her current interests are drawing from nature, collage and movement.
Chris Webster, Tate
Chris Webster is the Filming Manager at Tate. He studied Fine Art Foundation at Grimsby College in 1982 and BA in painting at Camberwell College in 1984. Along with his fine art activities he has also self-published a series of comics as well as written and drawn for various publishing houses in the UK, US and Japan. Currently a Portuguese publisher has reprinted his comic Malus and he has new work scheduled for release in 2007.
Further information: http://www.chilicomcarne.com/