Parul, replying to Jim, in words. Parul’s images came first. See post below.

Dear Jim,

Lovely surprise to see your interpretation. The side where white & black lines are embossed is MY “front” side. Never made this clear before because i wanted to see others way of seeing. Have attached the actual images now.

The idea is to understand space and visual weight of color. i usually work around the physical lines (corners of walls, ceilings, floor, pillars etc.) of the built environments, not just with the visual sense but also with tactile sense. Thus the feeling of touch equally becomes important apart from seeing, for the work to manifest itself completely. with these drawings, I am trying to inhabit the space of the paper which is already marked by proportionate edges (sides of the paper). considering the edges to be walls/ boundaries of the two dimensional space, how do I respond to those edges and how do i inhabit that space. I am also inquiring the visual weight of light and dark. white line merges with base in contrast to black, responding to the attention shadows get and again questioning the existence of shadows – with the geometry it creates and subtlety divided the physical space.

What is most interesting is the response to straight lines through architectural buildings when i never mentioned the reference before. This analogy was also made by Tim Ingold in his book “lines – a brief history”, last chapter – when the lines becomes straight.

ParulIMG_6930 copy IMG_6938 copy IMG_6932 copy IMG_6934 copy IMG_6943 copy IMG_6945 copy IMG_6948 copy IMG_6950 copy IMG_6941 copy

India – US book. Global Circle 3. Message from Jim to Parul. V cool images!


Here are a few shots of one of your drawings I interpreted in more three dimensional form. The intersecting lines call to mind one of those dusty, empty intersections in a desert town in the southwest United States. After pulling up the buildings, the cut-outs had their own life, as if they were hollow shadows of ghost buildings – a faded 1,000 foot view of a bygone road map.

I would like to know more about your lines, both front and back of the page. Clearly there is something running through your mind as you lay down those lines. The “front” page lines are crisp but have a weight, digging into the paper and creating a raised line on the “back” page. However, on the back side, the line is covered by a furry charcoal-like texture as if created by snapping a chalk line on the page. The contrast is significant.

Have a great week!


JimIMG_2271 IMG_2270 IMG_2269

Irene U – Irish Circle 1


Hi Angela

I’ve made my own book again, well I’d made this at my book-making class (with the excellent Sandi Sexton) and kept it for something special and voila!  It’s made with book cloth, two different colours (outside & inside) and then the signatures and around the book cover are hand-stitched using wax linen thread.   There are enough signatures for all 6 on my circle – 2 in the US, 3 in the UK, 1 in India  and then me in Ireland so each person can make a few drawings or annotations.  

I’m attaching images, the first is the outside of the book to show front & back cover,  and then I’ve filled 3 pages with more to go.  I’m drawing from observation so grabbing whatever is around me.  I love the spring and daffodils are one of my favourite flowers, I always buy myself lots of them.   And the bull drawings are from the plastic bull that comes with Torres wine!! Media: paint, charcoal and pencil.

All the best.  I’ll scan the others as I go along and send them onto you.

Irene (Dublin)

Message from Christian M to Jim D

Hallo Jim Dawkins

The way you formulated your dissociation around the drawing process inspire me to write this text. While talking poetically about a reality that is as intangible as the wind, you write about the relationship to your own work. You compare the relation to something that resembles the alliance to your best friend and you use metaphors pointing towards materiality as flesh and bones, steaks and potato puree. This also provides associations with different consistency of materiality as mass. It was also interesting the metaphor of the “Metacognitive struggle with the rabbit hole.” The rabbit lives in materiality per se, in tunnels that nobody can control, in the earth’s interior. Here we touch a fundamental driving force in drawing namely “desire”, the source that give the drawn line its energy. You never know when or where the rabbit runs away dependent only of the desire principle or its inhibition. The verbal dialog, inner or outer, that offer a semblance of connection (bridge or link) between the artist thinking and the drawing itself is in my opinion not compatible with the bodily consciousness that belong in the gap, which opens up the space in between “cognitive thinking” and “graphic expression”.

Pandora box 3

This bodily consciousness condition eludes the ego that become absent, as a conscious control authority of the drawing process. Absent in such a way, but totally present in the body awareness to the surrounding. The unarticulated (in linguistics terms) dialogue that occurs then with the body is nonverbal, dumb and blind .It happens beyond the five senses records of the outer world and is rooted in the sensitive materiality of the body likewise in its coupling with the outer world. Simply put, the “motivational” visual stimuli, like landscape, object, body etc.,have to be answered with a “motivated” gestural action. It is the act of drawing itself, as continuous loop of visual motor integration of outer and inner stimuli. It is through the movement that this gesture will give access to memory and embodied sensorimotor knowledge collected through life experience.                                                                

lapin JPEG

Christian Montarou, March 2015, Norway.

Jim’s post, which this was a response to (see below), said:

Jim Dawkins, Global Circle 3:

Love the images of gdc5 (Global Drawing Circle 5) you just posted. Attached is one from my sketchbook. My work is fairly ‘touchy feely’ – meat and bones or steak and potato stuff. I struggle with the metacognitive rabbit hole of drawing, such as the path the gdc5 drawings seem to blaze…making marks or drawing or sketching is more memory interpretation for me, a sort of expressive impressionism if you will, but not in the vein of Impressionism itself. I’m still working on what I do and why I do it. Perhaps it is just as simple as it looks.

 Page 3 barnsHope you have a great week!

I know there is some kind of bridge or link between my drawing and my thinking, and I can verbalize it on occasion. But that link isn’t a visual one just yet…if that makes sense. Expressing that link in a graphic manner eludes me. It is kind of like drawing the wind: I know it’s there, I just can’t put pen to paper in a manner that describes the phenomenon appropriately. Last year in NY I saw plenty of our group who seemed to have managed their way into that particular dimension of drawn thought expression. Those were moments when I totally felt a disassociation with my thinking and my drawing, or at least how to represent what I knew to be true in the space that separates (or joins) the two. 

Drawing Circle UK 3

– this Circle is great! Do keep scanning / photographing pages, as it is so cool to watch them evolve.

Lucy Lyons drew in Jo Neil’s book:

Lucy writes:

I also wanted to say that as someone who never uses sketchbooks  I have been using the sketchbooks in the drawing circle to do something I never do and that is play. They have become a chance to just play! Each one is like a new playground to me where I can try things, no matter how silly or crazy and have fun. I always use my visual notebooks to record, gather and reflect on the experiences of all the encounters I have with the world around me and I use my large books to draw complete pieces. My work is always serious, dealing with serious, amazing and sometimes shocking medical encounters. So now, at long last, I can get down to the serious act of playing.



Drawing Circle Jos Book 1 Drawing Circle Jos Book 2 Drawing Circle Jos Book 3 Drawing Circle Jos Book 4 Drawing Circle Jos Book 5

Ilse wrote:

Hi, I just read your comment and I completely agree – I also enjoy so much to play and juggle and watch the thing grow whilst creating it. I usually love working in a sort of PING PONG mode – but with this, with the idea of the sketch-book, and find myself even more open to this idea. I really feel like leaving ALL traces and signs and marks and lines and things that happen while I draw IN the book. And this playfully pushes and inspires me to just go ahead and try new things 🙂 – I am Ilse from Drawing Circle 5….


Ilse Schrottenbach – images, Global 5

Dear Angela,

I am glad about your latest post as it encourages me to continue in the way in which my sketch book seems to develop…

My sketches are really some sort of protocol of my thoughts, some sort of loud thinking. Sometimes they start the development of a work, sometimes they are the origin of new elements of my vocabulary. Sometimes the outcome may be a story.

You will find somethings similar notes also in the book, too. Those notes also reflect to what I do and think while I draw and while I change what I drew.

Since  I am an a health retreat till next week, I will need to fix some pages or threads at home. I will send you the changed pages again then.

Thank you so much for all your efforts, it is such a joy for me to do this!

Warm regards,


So this are the titles in order:

01_I_cannot_continue_unless_I_understand_what_was_before.jpeg:  Image01

02_03_How_I_draw_AND_Non_communicating_vessels.jpeg: Image02

04_05_House.jpeg: Image03

06_07_This_is_A_Sketch_Book.jpeg: Image03

08_09_Round_Table_Dinner.jpeg: Image04

10_11_Options.jpeg: Image05

image1 image1 image1 image2 image3 image4 image5

Manchester Drawing Circle

Daksha Patel:

I have attached a few images for the Manchester (SUITE STUDIOS) Drawing Circle. They are my drawings and are based upon a residency I am currently undertaking at University of Manchester in Medical Imaging departments. 

These are first test drawings produced during the initial stages of an art/science residency at University of Manchester, working with Professor Rebecca Elliott, Dr Shane McKie and Dr Alexandra Morgan. I have been looking at brain, lung and whole body imaging. The drawings have been produced using a combination of graphite powder, silverpoint and pencil. The project explores how science and art construct knowledge, and the relationship between biomedical images and perceptions about the human body. The residency will culminate in an exhibition ‘Noisy Bodies’ at the John Ryland’s Library, Manchester – housing historical medical collections such as Vesalius medical atlas and Robert Hooke microscopy drawings – in October 2015. 

 046 037 025 044