Darragh Gallagher joined the group to work with Angelika Steiger for ‘Searching the Line’ at Filter4, Basel. They joined forces to reflect on Filter4’s former use as a water reservoir at a time when glaciers melt in the heart of Switzerland; jeopardizing both fragile natural environments and the tourist industry. Both artists view water and ice as vital natural materials, necessary for human and environmental survival. They also advocate living in empathy, rather than discord, with the world, of which we are a part. In ‘Spoor’ they question what memories, which cultural values and what trace we will leave behind us for future generations from the age of the Anthropocene
Fiona Grady was a member of Drawing Connections for two years between 2015-17 and worked with Tony Blackmore exploring light’s relationship to surface. They created large-scale interventions that literally draw with light and question our understanding of how we view, filter and experience light in our surroundings. They play with light’s relationship to surface and their interventions question how we view, filter and experience light in our surroundings. Their collaboration for 'A Many Sided Thing', ‘Beacons’, built upon their first project ‘Drawing with Light’. By translating light through filtering mediums, ‘Beacons’ explored controlling and subverting the colours of light and the relationship between light and colour.
For their collaborative work at Filter4, (Ways of Seeing), Lucy Pereira and Chris Cawkwell chose reflect upon corporeal aesthetics of consumerism through the act of chewing and discarding gum – asking the public to transform, adapt and create the work through the placement of gum.
This growing archive of chewed gum acts as a portrait of each participant/performer; imprinted by their teeth, spit and DNA. Questioning: does the body consume its surroundings to a point where we are devouring and excreting our own identities, (albeit identities that are performed)?
deb & nell whitney
Deb and Nell Whitney, joined the group with a new collaborative body of work at Filter4, Basel, which engages with the physical and virtual distance between them, as they live in two different countries. They have developed a shorthand of art making, which they explore by maintaining a relationship exclusively through social media. Like an updated version of Ray Johnson’s mail art from the 1960’s, this mother/daughter collaboration results in a monochrome installation composed in a contemporary technological format and pushes the boundaries on what is considered drawing, and what is considered home.