‘Talk Drawing’ is an ongoing project developed by artist and curator Colette Lilley, which interviews contemporary drawing artists, sharing personal insights into their drawing practice.
Here’s my recent interview with her…
Tell us about yourself and your artist background?
I grew up in Derbyshire, did my BA(Hons) in Wood, Metal & Ceramics in Manchester, then toured the UK for three years as a puppet maker and performer. In 1994 I travelled to Edinburgh to work on a three month community sculpture project and decided to stay.
After studying Community Learning and Development at Post Graduate level, I spent twenty-five years leading art and community development projects across Central Scotland, using creativity as a medium to support marginalised people. In 2008 I went back to drawing and established my current practice, making work in charcoal, oil and printmaking exploring our relationship with old trees.
I’m now based in South Queensferry, beside the Forth Bridges and work full-time as an artist and educator, exhibiting and teaching across the UK.
Why do you draw?
Drawing is how I make sense of things – it’s an urge rather than a conscious choice. Seeing a line emerge from the end of a pencil as it moves over a blank page feels like magic. My fascination with the visual might have been influenced early on by my childhood cataracts. I still vividly remember the crisp details and contrast I saw when I got my first contact lens aged 7. That sense of wonder from intense looking has stayed with me and filtered into my work in ways I’m only now beginning to understand. I particularly enjoy the way observational drawing is a kind of conversation, with each look and corresponding mark creating a record of the dialogue. This drawn connection between me and a tree forms the basis of all my studio work.
What medium/s do you choose to draw with and why?
Charcoal would always be my first choice of medium, because I love the way using it can feel like both drawing and painting at the same time. It’s so direct, immediate, spontaneous and yet also so subtle and fragile. There’s also something poetic about drawing trees with carbonised wood.
The material qualities of charcoal have become a core element of my work. When I draw with charcoal it feels almost like sculpting, carving out contour lines, adding and erasing layers, scraping and wiping to reveal light and form. It’s got both drama and delicacy and never feels completely within my control – I enjoy that challenge in every drawing.
Any advice for someone wanting to learn/start drawing or for drawing artists at the start of their career?
Find good teachers. I had some great ones and I carry their words with me every day. Also support yourself, the inner critic is loudest when you’re trying something new, so be kind to yourself as you learn – it’s a brave thing you’re doing. I remind my students to let go of critique as they draw. Focus on drawing (the verb, the activity) rather than making a drawing (the noun, the product). Treat it like a practice rather than a performance and observe your progress over years not days.
Is there anything else you would like to say, share or promote?
I believe that drawing is an innate human form of expression but I hear so many stories of people being told they couldn’t or shouldn’t do it. That’s why I teach the foundational skills of observational drawing in my ‘Permission to Draw’ online course (starts in September) to help people just enjoy drawing what they see.
More on contemporary drawing
Follow Talk Drawing on Instagram @talk.drawing
Follow artist and curator Collette Lilley on Instagram @colettelilley
Find out about the Drawing (Paper) Show curating contemporary drawing
Browse the Directory of Drawing Artists (DoDA)