In a practice which is situated within the expanded field of drawing, Nicola Grellier employs a medium and strategy which counterbalance the speed and dehumanising processing of our daily lives. Using the old technology of drawing, whose evident materiality, and even modesty, provide a physical encounter and an invitation to slow looking, she invests time and simple materials, often drawing onto, or stitching into, objects or textiles which have been items of (sometimes intimate) use, such as parts of chairs, doors, screens, clothing, pill packaging, paper bags, envelopes and labels. The exploration of repetition, slow and intensive labour and the ‘matter’ of drawing with graphite, ink, bleach, charcoal or thread form strategies and methods which relate past to present, reminding the viewer that they are involved in a common experience. Drawing continues to be an expansive and strong means of exploring and reacting to both the interior and objective world where the use of techniques and tools to materially describe and think about what matters allows that drawing and thinking are symbiotic.
In thinking about possible meanings, which happens during, not before a work starts, Nicola uses a research approach to single words which describe multiple meanings and satisfy the chaotic nature of how thinking and thoughts arrive and leave. She is interested in the fleeting nature of emotions of certainty, happiness, confusion, feelings of inadequacy and conditions of insomnia and neurological illness which can produce creative thinking. Habitual daily drawing moves the practice towards a meditative act
Nicola Grellier is studying MA Fine Art at UWE Bristol 2017-2020.
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