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RB Kitaj, Yaller Bird, 1964, screenprint on paper  

You will be able to book tickets from 9:30am on Monday 29th January.

Book here

Lecturer: Nick Collerson  

Location: Building 16 South 

In an image saturated world the way we interpret imagery through art making is more important than ever. This workshop aims to help students to explore how drawing is a way of interpreting and understanding imagery and ideas from diverse  sources, including, pop-culture, photography, personal narratives, myths and perception. Emphasis will be placed on how aspects of drawing including , mark making, materiality, time, sequence, distortion, ambiguity, chance and style contribute to the use of imagery and ideas in all art. 

Emma Talbot, All that is buried, 2020
John Baldessari, Art Lesson, 1964, oil and mixed mediums on canvas, 68 by 57 inches. 


- Your preferred drawing materials. These could be black and white (graphite pencils, charcoal, ink, pens, markers etc.) or coloured (watercolours,inks, pastels, coloured pencils, markers etc.), dry materials or wet, or a combination.  

- Papers or other supports you wish to work on. Bring various types of paper, considering how the weight, texture and colour can support different materials and aid in the creation of a particular visual atmosphere.  

Sources for the imagery that you would like to work with/reinterpret. These sources could be any kind of handmade or printed material (photos, books, magazines, advertisements, illustrations, maps, art reproductions etc.) If you wish to work from the digital screen, bring a large enough screen to a provide a clear image.  



Vija Celmins, Hiroshima, 1968, graphite on acrylic ground on paper

Marlene Dumas, The Passion, 1994, gouache and ink on paper 

Yaller Bird 1964 R.B. Kitaj 1932-2007 Presented by Rose and Chris Prater through the Institute of Contemporary Prints 1975
Richard Larter, Untitled 1977, ink and pencil on paper
28 x 22.5 cm
Neo Rauch, Die Espelfleger, 2013, felt-tip pen and oil on paper




Lecturer: Nick Collerson’s art practice exists where painting, poetry, and philosophy overlap. As a teacher he is open to both traditional and experimental methods in art.


Nick Collerson, ‘1000 Years in the Future’, 2023, oil on canvas