Lecturer in Art and Design
0113 343 6928
Clothworkers' Central, Room G78e
BA (Huddersfield), MA (UAL), PhD (Leeds)
Eirini is an artist and a lecturer in Art and Design. She makes use of a variety of mediums, that often merge, to explore the possibilities of contemporary drawing practice and ideas of authenticity and originality. Her main research interests are drawing, the practice of tracing, ideas of authenticity and semiotics.
Actionglyphs, the practice of tracing, drawing, printmaking, painting, collage, moving image, ideas of authenticity and originality.
Level 1 DESN1440 Studio Practice 1A
DESN1441 Studio Practice 1B
DESN1706 Drawing 1B
Level 2 DESN2705 Cutting edge: Collage A Reconfiguring
Level 3 DESN3660 Independent Study: Dissertation
DESN1441 Studio Practice 1B
DESN1706 Drawing 1B
DESN2705 Cutting edge: Collage A Reconfiguring
Ichnographia: Arrogation and Alteration.
This thesis is a meta-commentary that accompanies a portfolio of artworks produced over the course of the research project; one that explores tracing and the traced as a creative process in drawing. Despite the fact that there is notable information regarding tracing’s preparatory role within the history of drawing (Bambach, 1999), there is little research regarding the shift of its role towards an independent and creative end in drawing today. Consequently, I see tracing as a process for drawing that is continually open to question and exploration.
The research takes the view that the reworking of preexisting cultural products and models arguably now replaces the idea of originality and the new (in the sense of starting from zero) (Bourriard, 2002), a perspective which suggests that there are only specific re-readings and no originative readings. (Derrida, 1976) Within this context, I suggest that tracing in drawing has now, by way of its character, become an exemplary process which can challenge a long standing dialectic: that of the measure of the eye and its judgment, contrasted with mechanical means and the execution of the hand. I believe that this offers up an argument for speculation on a centrality of tracing within drawing now.
Overall, the writing addresses a central question, namely what can account for a consideration of tracing as a creative agent in drawing today? It also gives the theoretical means needed to understand the underlying reasoning, preoccupations, and concerns behind the submitted work and provides supplementary information about the drawings and paintings developed as part of this research, thereby offering up a new perspective of tracing’s cultural assumptions for those involved with the history and practice of drawing.
Drawing Dialogues, Craiova, Romania.
Pushpin, Zverev Museum, Center for Contemporary Art, Moscow.
Ichnographia, School of Design, University of Leeds
Ink Shop Printmaking Center & Olive Branch Press. Ithaca, New York. USA.
RX3, drawing-board. Harrogate UK
Wanderings in palimpsests, 25 Wellington street, Leeds. UK
Limerick/Berlin, Limerick printmakers gallery, Ireland.
Noun becomes Verbs, Old Mining Foyer, University of Leeds, Leeds.
Pieces of Eight, PSL, Leeds.
Thinking tools, FAFA Gallery, Helsinki, Finland.
Drawing Connections, Siena Art Institute, Siena, Italy.
The Artful Scriptorium, Climate Gallery, New York, USA.
8th International exhibition of women painters, Majdanpek Cultural Center, Serbia.
The Last Book (Luis Camnitzer project), Zentral Bibliothek in Zurich, Switzerland.
Adaptive Actions, Campo AA, Madrid Abierto, Madrid, Spain.
Contemporary Flânerie: Reconfiguring Cities, Oakland University Art Gallery, Rochester, Michigan, USA.
Hotdesk, Out of office, Old Broadcasting House, Leeds, UK.
The Last Book (Luis Camnitzer project), National Library of Argentina, Buenos Aires, Argentina.
Mastixoperipati, Mastic Villages, Chios, Greece.
SIPF, Singapore International Photography Festival, Singapore.
Civic Hall Brno, Brno, Czech Republic.
Lattidute, Fifty Four Degrees North Festival, Hull, England.
Olympolis, Katerini, Greece.
Public Screen, SYNCH Festival, Technopolis, Athens, Greece.
Public Screen, Municipal Gallery of Larissa, Greece.
Public Screen, Apothiki B, Centre of Contemporary Art-Thessaloniki, Greece.
Heterotopias, 1st Thessaloniki Biennale of Contemporary Art, Greece.
In Transit, The Royal Borough of Kensington and Chelsea, London, UK.
Situation Leeds festival, Leeds, UK.
Delineate, Crossley Gallery, Dean Clough, Halifax, UK.
Bibliomania, John Holden Gallery, Manchester, UK.
MA Show, Camberwell College of Art, London, UK.
WAVE, Camberwell College of Art, London, UK.
Every available, ESA, Leeds, UK.
Multiples, Con/temporary, Berlin, Germany.
Co-ordinate, Salt Mills, Saltaire, W.Yotkshire, UK.