Drawing in the Expanded Field

The Expanded Field

The ‘expanded field’, in this instance, refers to the idea of investigating one discipline (drawing), through the lens of another. The term was devised in 1946 by American artist Robert Morris, and originally referred to three-dimensional practices that stretched beyond the ‘white cube’ gallery framework.

This project has provided the artists with the space and time to extend, or make departures from their usual practice, engaging in activity that challenges, blends, reframes and expands conventional drawing disciplines and methodologies, both within and outside of the Kiosk context. The artists’ diverse approaches span traditional drawing, printmaking, three-dimensional design, ceramics, still and moving images, environmental and performative works, cross-disciplinary, and multidisciplinary modes of practice.

While working within, around, and on the surface of the architectural space of the Kiosk, the artists have also considered it’s wider context, using or repurposing materials found in, on, or near the site to produce drawings that reference it’s unique qualities and history. They have explored time-based responses to location, immersion in landscape, worked with the architectural forms within the Kiosk, and created interactive spaces within the various rooms.

They have defined, or redefined, drawing for themselves based on their chosen context, and personal focus. Many of the works in the exhibition, and also documented here, are exploratory in nature, reflecting the importance of creative experimentation and engagement with materials, processes, sites and ideas.

The Intent

Through this project, the act of drawing has been broadly redefined as being a universal human activity with inherent value, without the need for a finished outcome. Celebrated in this way, in its raw form, we can all find ways to connect with drawing as a potent and primal way of engaging with, understanding, recording, and reframing our world.

We hope this exhibition offers an expansive demonstration of what drawing can be, and encourages the viewer to reconsider drawing in a way that is personally meaningful, free of expectation, judgement or conventionally accepted norms.

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