Experimental Drawing and Creative Writing

March 21st 2015
@ Paris College of Art
15, rue Fenelon
75010 Paris


Experimental Drawing workshop
with Véronique Devoldère

« There is no way to make a drawing, there is only drawing”
Richard Serra
Writings /Interviews University of Chicago Press, Aug 15, 1994.

The workshops will focus on the process of drawing, drawing as subject matter, rather than drawing from observation. The proposed context allows students to feel confident even without specific drawing skills, the aim being to use and explore our natural skills of making marks.
This process begun by Robert Morris in 1973, was based on predefined conditions to create a specific frame and instructions for the drawings. The most important part is that all the drawings are done while blindfolded.
This process allows a very spontaneous and generous approach to the actual white sheet. Depending on the preset « instructions » students cannot see their drawings and loose all inhibitions, as well as preconceived ideas of how a drawing should look like. Spontaneity is the most important action in this process. The second part of this exercise will be to use the drawings realized while blindfolded and to re-appropriate them to make new drawings.

Each participant should bring and object they particularly like

Fee: 40 euros (all materials needed for the workshop are included)
Sign up here



Creative Writing workshop
100 WORDS : a (very short) story-writing workshop
with Kate Briggs

In his book How to Read a Page (1942), I. A. Richards identifies the 100 most important words in the English language. Most important, because ‘they cover the ideas we can least avoid using, which are concerned in all that we do as thinking beings.’ Words that are central and indispensable, that function as the very ‘hinges of all thought’ but that are also, for just those reasons, ambiguous and imprecise. In this workshop, working collaboratively and individually, we will use Richards’s list of 100 words as a way into writing short stories, into producing precise accounts of specific experiences, whether real or fictional, and into wondering what a short story can do and be.

Kate Briggs is the translator of two volumes of Roland Barthes’s late lectures at the Collège de France (Columbia University Press, 2010 and 2013), and the author of Exercise in Pathetic Criticism (information as material, 2011). With Lucrezia Russo, she devised The Nabokov Paper, an experiment in novel-reading resulting in a publication (information as material 2013) and an exhibition (Shandy Hall, Coxwold, North Yorkshire, October 26—November 22, 2013).  She teaches at the American University of Paris, Paris College of Art and guest tutors at Piet Zwart Institute, Rotterdam.