Drawing Experience, Loughborough University

The theme Drawing Experience had its inception in the impromptu discussions about drawing that took place between Deborah Harty (Loughborough University, UK), Isabel Herrera-Gonzalez (University of Seville, Spain) and Fan Ye (Hubei Institute of Fine Arts, China), who were both Visiting Scholars at Loughborough University in 2025. Having not previously met, whilst discussing our own drawing practices and interests, sometimes through the aid of translator app, at other times through bodily gestures and emphasised expressions, we came to realise that we all had an interest in the potential of drawing to trace lived experience. The crossovers in our practices and approaches, alongside an interest in the potential of drawing to be able to bridge language barriers and highlight cultural differences, led us to begin the curatorial collaboration. We conceived the research question, how can lived experience be translated into drawing, to be investigated through the format of an open call for drawings for an online exhibition. This format enabled us to extend the discussion to others from across the globe, whose work sits within a context of drawing in the expanded field. From the call, we received a high volume of drawings in a variety of formats and media, including works on paper, moving image and performance drawings.

To evaluate the submissions, the main criterion was to what extent the work responded to the question posed in the call. For this, the curators considered the information provided in the short textual statements and the drawings themselves. These provided lively debate, as we negotiated the line between interesting drawings, personal responses and drawings we all agreed were convincing as traces of lived experience. The curators considered drawings that evidenced innovative approaches, which challenged the notional limits of drawing to consider lived experience. We particularly valued those proposals which looked for indirect ways to answer the question. Whilst acknowledging the aesthetic quality and the technical virtuosity, we prioritised the coherence between form/material and discourse. We leaned into works where the trace of lived experience felt tangible, whether through subtle textural choices, personal symbolism, or the emotional resonance of the imagery. We also selected works that felt authentic in translating intangible experiences into visual form, as this alignment between intent and execution made the theme feel alive.

In the works selected for inclusion in the exhibition, the artists pose fascinating reflections on what it means for them to translate experiences and sensations of the body into a graphic code. An interesting consequence of viewing the group as a whole, was seeing and comparing the multiplicity of different answers to the same question; all whilst using the economical means of drawing. Some resort to visual syntax to express (or, better said, 'narrate') the tacit part of their experience, as in the colours of Mahsa Makki Alamdari or Deepani Seth. Some use intense, precise forms to convey profound experiences, as in the evocative drawings of Helen Goninon or Lauren Arnott. Whilst others, such as Ellen Bell and Janice Nadeau, use sparse lines to evoke the quiet repetition of daily life. These powerfully evidence lived experience traced into drawing. The drawings do not shout, but rather linger, just like many of our most intimate memories. Others use a more figurative language to give concrete form to sensations and impressions that are abstract and difficult to verbalise (sometimes barely remembered), as perhaps in the case of Garry Barker, Camille Courier, Rachel Gadsden-Hayton & Jeremy Hawkes, or Lisanne Sloots. Some transform drawing itself into a medium or space for encounter with others, capturing dialogue and exchange in line, such as in the drawings of Mary Yacoob or Joanna Leah and Orla Bates. While others focus on the immediacy and honesty of drawing as to directly convey embodied knowledge in real time, like Ipek Yeginsu or Caroline Wright. As a whole, these works seek to confront traditional conceptions of drawing, with artists like Rachel Colley (through material experimentation), Sarah Tutt (through performative encounter), or Helen Farrell, Ella Emanuelle (through technology), expanding its limits beyond what is expected and predictable. The works in the exhibition emphasise the breadth of contemporary drawing practices evidencing the ability of drawing to be a living trace of experience.

One of the most rewarding aspects of curating this exhibition was reflecting on how cultural contexts not only shape each artist’s way of approaching the theme, their inclusion in the exhibition, enables a sharing of diverse experiences to a wide audience.  Whilst the central question remained the same, how can lived experience be translated into drawing, the responses were filtered through diverse traditions, personal histories, sensibilities and materials. These different cultural frameworks influenced the metaphors used in the drawings, some artists drawing on collective cultural symbols, while others focused on hyper-personal, yet universally relatable, moments. This reinforced the idea of drawing as a universal yet deeply individual language, one capable of bridging cultural differences while highlighting unique perspectives. This mix showed that while lived experience is personal, drawing acts as a common thread, allowing us to understand perspectives that might otherwise feel distant, simply through the language of line and form. Perhaps the best proof lays in the fact the curators all come from different cultural backgrounds and use different spoken and written languages, but we have still been able to read and understand the meanings behind each drawing.

Curating these submissions has been both humbling and inspiring, as it has reminded us of the power of drawing to make the invisible tangible, and to connect us through what cannot easily be put into words. The selection of works has highlighted how drawing can be a silent conversation between artist and viewer. During the process of selection, we were not just curating works, we were witnessing artists sharing personal experiences that words might fail to capture. The contrast between the ephemerality of experience and the potential permanence of drawing felt particularly poignant. It is a reminder that this exhibition is not just about art, not just about evidencing how lived experience be translated into drawing, it is about preserving and connecting human stories.