Kent Rawlinson in conversation with Sam Jacob

Talking to Drawings, Episode 1 – Disappear Here

Edwin Lutyens, Record sketch of Memorial to the Missing at St Quentin, Nord, 1918. [RIBA]

Bringing together material from the RIBA and Drawing Matter collections, the exhibition Disappear Here (RIBA, 2 May – 7 Oct 2018) explores the history, application and implications of perspective, how it spans truth and illusion, linking the disciplines of art, architecture and mathematics. In this podcast series, curator and designer Sam Jacob discusses with various guests the exhibition’s material and themes. The first episode sees Sam joined by Kent Rawlinson, Head of Collections at RIBA, to discuss the process of research and curation, and the intentions behind the exhibition.

Elizabeth Hatz

Line, Light, Locus, Venice Biennale 2018

Hatz venice elevations 1

This is a Drawing Room, a with-drawing room. It is simply a love-declaration to the architectural drawing. Four walls, three large doorways. One end calmer, the other more open. The first thing decided is a table-bench; the drawing flat on the tabletop – like when you draw it – and a bench to sit on, resting, withdrawing from the tiring Biennale. Daylight, ever changing. A concrete floor which is like a petrified beach, cool and warm at the same time. The two colours divide the bench: cool and light grey underneath the warm heavy grey, thus lifted, floating. In this drawing room, there is a large floor space to stroll across. Like the floor staged for events in Florence, in the drawing by unknown hand from the 1650s – an open ground. Quite contrary, the Ponis drawing on the same wall acts on space almost physically; absorbs you into depths of dry Sardinian darkness, a labyrinthine escape from light. Disorientating. A plan incorporating the liberation from the control of overview; only chance and memory to guide you – recreation of a wilderness forever lost? – Elizabeth Hatz

Alexander Brodsky

The Shed, Venice Biennale 2016

Brodsky Venice Pavilion_dmw

This is the only drawing I made for that Venice shed. It's not beautiful at all but it's the only document on paper about that project (which is important for me). – Alexander Brodsky

Drawing Matter
www.drawingmatter.org

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