I'm off to the UK and will be presenting a paper titled Agitating the void: phenomenology and its practical application in drawing.

It will be presented at the Drawing Research Network annual conference at Loughborough University in the UK on Tuesday 11 September 2018. Click here for more information about the conference.

PGR Drawing Research Network Conference: Practice and Drawing//Diverse Perspectives: examining possibilities for drawing in practice led research

The conference aims to create a space for discussion and collaboration centred on an examination of practice led research where drawing forms a defining part of research across a diverse range of practices Ė e.g. painting, sculpture, architecture, printmaking, installation, audio-visual, music, text, language, the performative.

We will examine the relationship between drawing practice and drawing theory, the role of drawing at each stage of research methodology, and the question of how thought processes and affective response relate to drawing process in practice.

These areas of enquiry will be addressed by a series of academic papers delivered during the morning, followed by a panel discussion, and a series of practical drawing workshops in the afternoon. The conference offers an opportunity for debate and reflection, encouraging engagement across a wide range of research practices.

We welcome and encourage participation from a diverse range of delegates whose engagement with drawing is informed by a variety of experiences across academic and practice contexts.
I'll be presenting at Arts Forum this week at the School of Creative Arts, UTAS, in Hobart on Friday 31 August.

Here's the blurb:

David Edgar is a visual artist who draws on personal experiences of being in wild and isolated locations to progress his practice. Within this, he seeks disturbances of both material and psychological resonance. He uses a range of media to record these uneasy experiences, before bringing them back into his studio to explore them further with drawing. The process involves the coalescence of intuition and immediacy amongst structure and careful planning where the form and content of collected on-site data is re-engaged with and re-worked many times over. Factors such as memory, space, deterioration, atmosphere and mood are embedded alongside a wide range of mark making techniques that effect the act and outcome of the drawings.

Davidís education in the arts includes degrees in Fine Art from Bachelor through to PhD (submitted in 2018) from UTAS. David has exhibited internationally in the US, across Tasmania, and in most States of Australia. He has also been a casual tutor, mostly in drawing, here at the School of Creative Arts since 2008, and is currently represented in Tasmania by Handmark Gallery.

For this Art Forum, David will contemplate the mysteries of drawing, considering its relationship to ideas and nature, as being empty as well as full, as both form and nothingness, and in a pictorial sense as representational and abstract. He will link drawing to his PhD research in phenomenology and the void explaining how it involves intensity and fragility and encapsulates a dichotomy of certainty and uncertainty.

David Edgar, crawl, 125 x 125 cm, charcoal on paper, 2018. Photograph by Alastair Bett
The Abyss

Exquisite Corpse
Mike Singe, Nicole Robson, David Edgar, Linda Erceg and Sally Rees

On display at Contemporary Art Tasmania, 27 Tasma Street, North Hobart.

2nd opening event: 6pm, Friday 24 August 2018.

Until 9 September 2018

Taking the Surrealist game, Exquisite Corpse as a model, this exhibition embraces collective and sequential programming as a strategy in exhibition making. Five Tasmanian artists have been invited by their peers to present work in the Contemporary Art Tasmania Gallery with the exhibition revealing itself over two presentation periods.

The first artist for Exquisite Corpse was determined largely by chance. The CAT Program Committee, which is comprised of Tasmanian artists and arts professionals put forward a range of artists, whose names were placed in a "hat" - from this process Mike Singe was drawn. Singe was then asked to propose the second artist, Nicole Robson, this artist then chose the third, me; I picked Linda Erceg and she asked Sally Rees.

Unlike the Surrealist game, the artists in this exhibition were not asked to respond to the previous artists work. Requesting that an artist create work in reaction to another artistís work, and possibly make work that sits outside the concerns of their usual practice is a questionable novelty exercise. While the artworks in The Exquisite Corpse are discrete, in presenting them together there is the possibility that connections will be made.

the abyss, charcoal on 8 sheets of paper, 250 x 500 cm, 2018

Exquisite Corpse at Contemporary Art Tasmania
Click here to read my PhD abstract.

remote exertion 2, 2015. Charcoal on 28 sheets of paper, 300 x 1050 cm.<br />
remote exertion 2, 2015. Charcoal on 28 sheets of paper, 300 x 1050 cm.<br />
remote exertion 2, 2015. Charcoal on 28 sheets of paper, 300 x 1050 cm.<br />
remote exertion 2, 2015. Charcoal on 28 sheets of paper, 300 x 1050 cm.awaken, 2016. Charcoal on paper, 140 x 140 cm. eclipse, 2018. Charcoal on 2 sheets of paper, 145 x 330 cm. arch, 2018. Charcoal on paper, 125 x 125 cm. crawl, 2018. Charcoal on paper, 125 x 125 cm. unsettled, 2018. Charcoal on paper, 125 x 125 cm. compulsion, 2017. Charcoal on 7 sheets of paper, 150 x 525 cm. unwilling, 2018. Charcoal on 2 sheets of paper, 145 x 253 cm. remote exertion 2, 2015. Charcoal on 28 sheets of paper, 300 x 1050 cm. remote exertion 2, 2015. Charcoal on 28 sheets of paper, 300 x 1050 cm. remote exertion 3 (reworked detail), 2017. Charcoal on paper, 145 x 145 cm.   remote exertion 3 (reworked detail), 2017. Charcoal on paper, 145 x 145 cm.   remote exertion 3 (reworked detail), 2017. Charcoal on paper, 145 x 145 cm.   remote exertion 3 (reworked detail), 2017. Charcoal on paper, 3 x 145 x 145 cm.
Black + White

An upcoming group show @ Handmark Gallery.

Black + White features work by David Edgar, Julie Payne, Ella Noonan, Luisa Romeo, with ceramics by Sally Curry.

Opening Friday 15 June 2018 @ 6pm, come all ye weary....

To be opened by Rob Valentine MLC.

15.06.18 ó 02.07.18

shallow, charcoal on paper, 132 x 70 cm, 2017
Today I received the prints of my work donated to Friends of Tasman Island Pozible Campaign. They reached their target and I have signed my life away.

From what I hear, the work on Quarters 2 on Tasman Island has been completed and looks amazing (click on the link above to see it on their Facebook page). I'm glad I could contribute in a small way and thank Friends of Tasman Island for all of their support of my practice over the years. It feels good to give a little back.

Prints signed and ready for delivery

@ Handmark

Opened by Professor Elaine Stratford, Friday 20 October 2017 - 77 Salamanca Place, Hobart

Until 6 November 2017

An exhibition of new drawings made following my residency at the Sedona Summer Colony in Arizona, USA in 2016.

This was a joint exhibition, also featuring new ceramics by Sallee Warner.

Click here to view the work and read Professor Stratford's opening remarks.

life, charcoal on paper, 117 x 88cm, 2017
Update: Congratulations Friends of Tasman Island on making your crowd funding campaign target plus more. A well deserved project to a well deserved group of hard working volunteers. I am proud, glad and humbled that I could assist.

For a limited time only, and to support the Friends of Tasman Island (who supported me for many years to explore and discover Tasman Island), you can purchase a print of a drawing of mine (printed by Luke Wagner at Archival Ink on high quality archival paper and signed by me) There are 5 variations available (see below), each work features a different aspect of what is the incredible landscape of Tasman Island. The campaign runs until 6 October so get in fast.

All funds raised goes towards a project to repair one of the three beautiful houses still standing on the island. Click here to have a look at the campaign on the Pozible site, or take a look at the Friends of Tasman Island Facebook page for more.

Drawing the edge, 2009 From the source, 2010 Inverted lament, 2012 Vertigo cliff diptych, 2008
Handmark in Hobart - Friday 20 October 2017 will see the opening of my next solo exhibition. Featuring all new work derived from my residency in Arizona (mostly Sedona) and Utah last year.

Here's a few of the new drawings that will be on display. Come along on or after the 20th to see more. Contact Handmark for further details.

Creep, charcoal on paper, 95 x 75cm, 2017 Finding zion, charcoal on paper, 75 x 95cm, 2017 Napolean, charcoal on paper, 75 x 95cm, 2017 Blind, charcoal on paper, 95 x 75cm, 2017
Hi all, it's been a while since updates. I am slack, yes indeed, but my head has been down busily writing and drawing. I have 6 months left to finish off my PhD so it may continue to be quiet around here for a little longer.

Anyway, Sydney Contemporary is this week, and Handmark are taking some of my work up to it. I will be there on Wednesday, Thursday and Friday if you are around in Sydney and want to say hi. Sydney Contemporary is on at Carriageworks in Redfern; Handmark can be found on Booth P03 from 7-10 September. Then its back home and into the studio.

Here's a few new drawings that will be on display at Sydney Contemporary...

David Edgar, pause, charcoal on paper, 97 x 145cm, 2017

David Edgar, as one, charcoal on paper, 92 x 145cm, 2017 (sold)