The exhibition „I can watch my thoughts evolving“ gathers works of 14 international artists, which use the medium drawing as research and experimentation field in various approaches. The theoretical and conceptual process, which is the basis of all works, is in its legibility and esthetic evidence not a means to an end but totally the end itself. The tooles of drawing, which come into action are hetergenous and interdisciplinary.

Drawing reinvents itself conitinously and like this it thwarts a sortlike ascertainment and fixation. In this sense we understand „I can watch my thoughts evolving“ as a short snapshot of this changing process. Without wanting to enforce a too strict curatorial corset to the exhibition, we have searched for specific positions, which show how thinking in drawing as a free (self) reflective game is able to mirror the conditions of the production of drawing.

The drawing thinks and the artist watches astonished.

Self- developing thought-lines, entwinded endless lines, range through Roland Stratmann´s or Constantin Luser´s narrative inventive paper works. At Jasper Sebastian Stürup the heads and figures also seem to be enclosed in these current lines, as if they were surrounded by something, that is not allowed to tear off: a line like an Ariadne´s thread, a track of an idea.

Linear geometrical patterns are also to be found in Heike Weber´s floor work made out of cut carpet, in which she issues the specifics of the exhibition space.

Motoko Dobashi combines in her wall drawing formal and motive characteristics of japanese and german art. This synthesis of different styles –from traditional wood carving to manga esthetics – evolves melancholic landscapes and innovative worlds.

Katja Eckert´s little comic-like creatures only seem to be cute on the first view Blocked and peculiar mutated, they adhere something quite existential.

Paul van der Eerden bear a strong kinship to so called „outsider art“. They have a authentic directness and follow astrong spontanious impuls, without necessarily, celebrating roughness as a style.

Drawing as a quasi scientific instrument of observation, like a microscope or a spycglas, which –depending on the viewing direction- creates nearness or distance.

Malte Spohr´s observavtions of nature pass through various technical media, photography, computer, until they land on the paper as compressions of form and time.

Peter Welz realizes spaceous video installations, where he among others records seperate movement patters. He does not only make drafts but uses the dimensions of the space to show in detail with video and self constructed architectonical structures the movement in the room.

Davide Cantoni burns his figures, which are based on press pictures, in paper with a magnifying glass, while Charlotte McGowan-Griffin goes back to classical paper cuts and is drawing with scissors detailed landscapes, whose apparent beauty is casted by a deadly shadow.

The show presents language in different functions, from graphical element, text as perusal storage and the rhyhtm making of surfaces at Mark Lammert, or as absurd language games at Fabian Seiz, which simultaneously makes the drawing with his sculptural framings to objects.

Bas Louter´s portraits force the viewer through their presence to look at them, monumental and partly mask-like, the faces and figures come from another spere. Characters from history and fiction appear as an auratic opposite. opening the question of a potential dialogue with the distant past.

Nowhere is here is curated by Kate Mcfarlane and Mary Doyle, codirectors of The Drawing Room, London and taps into the capacity of drawing to capture the contingent quality of the natural environment and our complex relationship with it. The artists hail from different parts of the world including Finland, Israel, Switzerland, Botswana and England and all are establishing international reputations. Each brings a different relationship to the natural environment, be it imagined, experienced or remembered, emotional or dispassionate. The artists use drawing to create hybrid worlds that could suggest a repositioning of our relationship to nature and society.

Axel Antas spends time with the natural environment, interacting with it in unconventional ways and then using photography and video to record his observations and interventions. Drawing forms a significant strand of his practice and he uses the resistant medium of the HB pencil to translate these photographic representations into drawings that possess an uncanny resonance of human activity which nonetheless eludes the viewer.

Nogah Engler shares a tangible relationship with the natural world – but it is more emotional than physical. Alternating between the mediums of drawing and painting she uses landscape and nature as metaphors for expressing experiences that deal with memory and history.

Franziska Furteruses pencil, ink and paper to make large scale drawings and sculptures which often use Manga as a starting point. This imagery is dramatically altered as different settings are morphed and signifying features such as figure increase in scale. s and speech bubbles are removed and the resulting image is subjected to a dramatic

Reece Jones enacts a very physical relationship with his heavily worked charcoal drawings that are created through a process of drawing and erasure. Tapping into a huge picture archive Jones marries both man-made and natural environments to create stage sets for dramatic incidents.

Damien Roach’s practice spans drawing, watercolour, collage, video and sculpture but is characterized by a particular attention to form, colour and the visual quality of materials. He elevates the status of the overlooked and forgotten through his subtle juxtaposition of objects and images to question our perception, knowledge and value systems.


Axel Antas b.Finland 1976, based in London. Solo exhibitions: 2008: Spacex, Exeter; Galleria Heino, Finland; Rokeby, London.
Nogah Engler b.Tel Aviv, 1970, based in London. 2008: Beijing Biennial; 2007: Solo exhibitions, Ritter/Zamet, London; 2006: Israel Museum, Jerusalem.
Franziska Furter b. Zürich, Switzerland, 1972, based in Berlin. Solo exhibitions: 2008: Galerie Schleicher + Lange, Paris; 2006: doggerfisher, Edinburgh & Galerie Friedrich, Basel.
Reece Jones b. Gaberone, Botswana, 1976, based in London. Solo exhibitions: 2008: Joe LaPlaca & Dickinson Fine Art. London; 2005: Andrew Mummery Gallery, London; 2004: Rockwell, London.
Damien Roach b.Kent, England 1980, based in London. Solo exhibitions: 2008: Sies & Höke, Düsseldorf, Germany; 2007: IBID, London & Neuer Aachener Kunstverein, Aachen, Germany; 2006: Gasworks, London.