Online Artist Studio Talk and Tour with Ann Churchill

Providing a unique and personal insight into Ann Churchill’s practice this event coincides with the gallery’s upcoming exhibition Not Without My Ghosts: The Artist As Medium (10 September – 1 November 2020) in which the artist’s works from the 1970s and 2000s will be shown in a public gallery for the first time.

Following an introduction by Drawing Room Director Mary Doyle, Ann Churchill will be in conversation with Jacqui McIntosh, Drawing Room Exhibitions Manager. As part of the event a specially commissioned short film made by Finley Mist in collaboration with the artist will be screened.

To register your interest in this event, please email Amy Smith: [email protected]

Ann Churchill (b.1944, London) is a self-taught artist and maker whose output encompasses drawing, painting, knitting, batik and beading. Churchill views her practice as a meditative process that supports her own inner, spiritual journey. Her practice developed during the 1960s through daily black and white automatic drawings. During the 1970s Churchill’s process grew to encompass vibrantly coloured inks, creating complex works on paper which combine swirling, interlacing lines and forms with passages of labyrinthine pattern. Her most recent works evoke the natural world, incorporating earthly forms, invented landscapes and sacred imagery. Made without intention or plan, the works unfold and develop automatically through the intricate and subtle interplay between the hand and the unconscious. Ann Churchill has previously shown at GRANDINE (2018) and in an online exhibition at Richard Saltoun Gallery (2019) curated by Elizabeth Neilson, Director of the Zabludowicz Collection.

Not Without My Ghosts: The Artist As Medium is a Hayward Gallery Touring exhibition from Southbank Centre, London, developed in partnership with Drawing Room and curated by Lars Bang Larsen, Simon Grant and Marco Pasi. The show brings together artists and works inspired by mediumistic methodologies and their deep cultural history. It explores the changing historical and aesthetic terms of artistic engagement with mediumship, from perceived spiritual inspiration and creation during séances and trances, to practices of automatism, channelling, and paranormal investigation, whilst also considering clairvoyant practices in relation to the history of feminism.