OCA drawing 1.1

Produce a full draft of your Critical Review as either a 1,000 word essay, or 8 minute presentation.

Title: How Can Drawing Add Agency To Abstract Painting 

Drawing at its best is not what your eyes see but what our mind understands. (Millard Sheets)

Through practice and research I have come to realise that a majority of abstract paintings are forged through the elements of drawing.  It may not be a conscious act in many cases of abstract art, but an intrinsic acquired skill that has naturally developed over a course of time.

The foundational role of drawing in this type of painting is the element of agency it gives over the lesser accomplished art.

In 1967 Richard Serra produced Verb List, an articulate list of actions to relate to artistic process, but we have come to know the word ‘Draw’ or ‘Drawing’ as a restricted literal term whether in its form as a noun or a verb. A drawing being something made on paper with a drawing tool such as a pencil or pen. But in reality we recognise drawing as something much more diverse, even in layman’s terms.

No one would argue at the use of the term ‘drawing’ if you were making lines in sand, or a primitive, historical cave drawing formed by ground minerals and a finger. And once you can accept that a drawing can be made with a multitude of materials by a multitude of actions, you can open your mind to how the nature, and the act of drawing forms the archaeology of successful paintings.

DRAWING RESURRECTED THROUGH PAINT

Terry Ekasala, is an American contemporary painter. She has vibrant and successful CV since graduating the Art Institute or Fort Lauderdale. Exhibiting internationally, and participating in renowned art communities, and Parisian studios. Her work evolved from figurative to abstract and she currently makes small and large scale abstract paintings in her Vermont studio.

Claire KirKup, also an abstract painter, originates and lives in Australia with an international CV, and she merges the boundaries of figurative and abstract work. In 2019 she was a finalist in the prestigious ‘Len Fox painting Award’ for her figurative work ‘Story Of Jane‘.
As well as the figure, she uses influences from nature as starting points for intuitive large scale paintings.

Both artists are abstract painters, with early roots in representational art. This representational debut into abstraction is evident with many abstract painters, Joan Mitchell, Amy Sillman, Jackson Pollock, Willem Dekooning……Their early work shows examples of high academic drawing skill that in reflection influences the brush work and knowledge of composition in their evolved abstract paintings.

Ekasala and Kirkup share an intuitive approach to painting, Their style is spontaneous, but they both use the process of mark making, layering, and highlighting, to create nuances and informed areas that stimulate the appearance of something recognisable.

Their work differs in composition, Ekasala prefers to use the boundaries of the canvas or paper to naturally frame her work. And Kirkup blurs the boundary between the natural edge of the canvas and beyond.
Ekasala excavates her paintings to their essence to capture her subject or intention. Where as Kirkup builds up her content.

The tempo of brush strokes, layers of both translucent and opaque areas, and drawn lines happen intuitively, but are informed.  They only persevere because they are relevant to the overall narrative of the piece. Drawing is resurrected through the creation of the painting. By simulating the structure of recognisable elements (not necessarily representational elements), the viewers intuition is also at play when connecting these forms.
This type of communication with paint would not be possible without the foundation of drawing.  Intrinsic or intended.

To further explain how these points relate to drawing skill, rather than purely the art of painting, it is useful to return to Serra’s ‘Verb List’ and the theory that drawing can be an act executed in a range of mediums and physicalities. Foundational drawing develops skill in observation and the use of tone, light, and shadow, etc. The act of erasing and manipulating. Immersing the self, by using more than the hand and wrist to draw. And when acquired this foundation opens up an intuitive dexterity that can shape abstract paintings. It becomes more than an academic exercise. It becomes an action, something that bridges the parallels between the observatory and intuitive application of the paint.
The intention of drawing, whether conscious or unconscious changes the relationship the artist has with paint. It sets a confidence and gives the artist an agency over their materials which only suffices to expand the potential of the brushwork.

THE FACTORY OF OUR HANDS

In 2017 Amy Sillman presented an artists talk as part of Draw In: Conversations and Lectures on Drawing and Its Resonances for The Menil Collection.
Within her lecture she described how drawings relevance is not just a preparatory sketch, but at the conceptual heart of her work. Her work is a convincing example of drawing existing as an act, rather than confined to its literal means. She describes herself as a ‘Drawer’ rather than a painter, which she would be most likely labeled as.
This revelation acts to cement the practicality of the theory that drawing instrumentality affects painting. It can be as subtle as the character within individual marks, or the manifestation of many gestures combined.

She paraphrased Merleau-Ponty to demonstrate the range that drawing has, ‘Drawings genesis is from that feverish thing our bodies. Facture is formed by the literal factory of our hands, but it comes out of the hands and body to form a visible rhetoric. But not one of logic, rather a style of making intensified by transformation and displacement’. (Amy Sillman paraphrasing Merleau Ponty).

THE WAY ONE SEES IT

In the same way we analyse and excavate ideas from looking at a piece of art, we can excavate the verb to draw. It is greater than the sum of its parts. To understand and accept drawing is an action that becomes intrinsic to the art, that evolves the skill of the artist, and also expands the viewers experience with painting, enables you to create or view the work with fresh eyes.

Let whoever may have attained to so much as to have the power of drawing know that he holds a great treasure. (Michelangelo)

List of Images

Cover Image Ekasala, T. (2023) Full Face Helmet. [Acrylic on archival paper] At:https://www.terryekasala.com/work#/works-on-paper/ (Accessed 10.07.2025).

Fig.1 Serra, R. (1967) Verb List. [Pencil on paper] At:https://www.moma.org/collection/works/152793?sov_referrer=theme&theme_id=5739 (Accessed 10.07.2025).

Fig.2 Dekooning, W. (1970) Untitled, Clamdigger. [Charcoal on paper] At:https://www.drawingsandnotes.com/willem-de-kooning(Accessed 10.07.2025).

Fig.3 Pollock, J. (1951) Echo: Number 25. [Enamel on canvas] At:https://www.artforum.com/features/first-among-sequels-jackson-pollocks-late-work-228009/ (Accessed 10.07.2025).

Fig.4 Mitchell, J. (Circa 1967) Sketchbook. [Water soluble wax crayon, wash, fibre tipped pen on paper] At:https://www.joanmitchellfoundation.org/journal/six-joan-mitchell-sketchbooks-digitized (Accessed 10.07.2025).

Fig. 5 Ekasala, T. (2024) Secret Entrance. [Acrylic on archival paper] At:https://www.terryekasala.com/work (Accessed 10.07.2025).

Fig.6 Ekasala, T. (2023) This Is The Day. [Acylic on archival paper] At:https://www.terryekasala.com/work (Accessed 10.07.2025).

Fig.7 Kirkup, C. (2021) Folding Imperfections. [Acylic, vinyl and gouache on paper] At:https://www.clairekirkup.com.au/hot-springs-2018-1 (Accessed 10.07.2025).

Fig.8 Kirkup, C. (2021) Chomley Avenue. [Acylic on canvas] At:https://www.clairekirkup.com.au/hot-springs-2018-1 (Accessed 10.07.2025).

Fig.9 Mitchell, J. (1979) La Vie en Rose. {Oil on canvas] At:https://www.joanmitchellfoundation.org/joan-mitchell/key-works(Accessed 10.07.2025).

Fig. 10 Sillman, A. (2022) Frieze For Venice. At:https://www.visit-venice-italy.com/biennale-venice/2022/amy-sillman-venice-biennale-art-exhibition.html (Accessed 10.07.2025).

Bibliography

MoMA: Richard Serra – Drawing Is A Verb. At:https://www.moma.org/calendar/galleries/5739 (Accessed 09.07.2025).

Terry Ekasala: Bio. (2019) At:https://www.terryekasala.com/bio (Accessed 09.07.2025).

Claire Kirkup: Bio. (2018) At:https://www.clairekirkup.com.au/artist-statement(Accessed 09.07.2025).

You Tube: The Menil Collection – Conversation with Amy Sillman: Drawing in the Continuos. At:https://www.google.com/search?client=safari&rls=en&q=amy+sillman+drawing&ie=UTF-8&oe=UTF-8#fpstate=ive&vld=cid:6fde4294,vid:BLOgc466nRk,st:0 (Accessed 09.07.2025).