230 drawings from artists, designers, architects, musicians, engineers, scientists and students have been curated to form part of Powerhouse’s new collection, titled A Line, A Web, A World.
Showcasing the use of drawing as a universal tool, the exhibition examines the integral role of drawing across different disciplines and cultures, from historical to new contemporary works, and considers the question of why we draw.
“A Line, A Web, A World is the first opportunity to experience the Powerhouse Museum drawing collection in-depth and what it can tell us about political, social, and technological change,” says Powerhouse Chief Executive Lisa Havilah.
“We are thrilled to share the many concepts, stories and discoveries articulated through the practice of drawing captured in this new exhibition."
Historical highlights include a tablet incised with Sumerian cuneiform script dating to 2041 BCE, one of the earliest known writing systems. Also featured is a 37-metre hand-drawn navigational chart of the Darling River dating from 1870 to 1890, a 17th century Qing Dynasty scroll, childhood drawings by Australian inventor Lawrence Hargrave, the Sun’s corona captured by a 19th century astronomer at Sydney Observatory, and botanical drawings by Filomena March Phillipps from the 1880s.
Alywarr artist Dion Beasley has crafted a large scale drawing that will be unveiled at the exhibition. Profoundly dead with muscular dystrophy, his works serve as a way of communicating with the world. Other modern works include a Noel McKenna drawing of the Sharpies Golf House from 1985, a silk batik textile by acclaimed artist Emily Kame Kngwarreye made in 1988 and visual diaries by Ramesh Mario Nithiyendran.
Katie Dyer, Senior Curator at Powerhouse, says that the exhibition will outline the evolutionary qualities of drawing and its impact on humanity.
“Drawing is an instinctive practice and an integral part of the creative process across so many different disciplines and cultures,” she says.
“A Line, A Web, A World features works from the Powerhouse collection that help us understand drawing’s fundamental role in the act of imagining. The exhibition brings together enchanting historical pieces and newly acquired contemporary works to explore the power of drawing in visualising worlds that are either seen, remembered or imagined.
“This exhibition considers the work that drawings do and highlights their significance.”
The Powerhouse will host a number of drawing clubs to coincide with the exhibition, with leading practitioners running drop in sessions for visitors. The Powerhouse Late event on 3 August will celebrate the exhibition, with Lucas Ihlein to lead a session on 17 August.
For more information regarding the exhibition, click here.
