Part 4- Project 3: Installation.


” Many artists use installative drawings and what these artists are doing positions the viewer or audience member in a totally different way to someone viewing a work on the wall contained within a frame. Using the link below, look at the work curated for On Line, an exhibition of contemporary drawing held in Edinburgh in 2010. Look particularly at the section entitled “line extension” which discusses the work of Robert Rauschenberg, Cy Twombly, Ellsworth, Karel Malich, Edward Kransinski and Pierrettte Bloch: Graffiti artists are often very inventive in the way they position their works to give an extra layer of meaning or power”.


“Make a drawing that relates to it’s environment in a way that creates an interesting dynamic between the artwork and the space around it. Think about ways that drawings could take part in a kind of dialogue with the space they inhabit. Text might be one way, or a drawn object in partnership with its real world equivalent. A drawing of flowers might be positioned behind a vase. A drawing might be used to “join up” the view between two windows. You might be interested to find out more about trompe l’oiel or even anamorphosis- seen in Holbein’s painting “The Ambassadors” but also seen on football pitches and in the street art of artists like Kurt Wenner and Edgar Mueller. Edward Kransinski used line to extend drawings into their environment, and used the drawn line to engage the participate in the space in a certain way, The effect is to draw the whole room, and everyone in it, into the artwork”.  


Trompe l’oeil.

Trompe l’oeil is a French phrase that translated to English means ” to deceive the eye”, creating the illusion of a real object or scene. An artist will create an image and use this technique to make the viewer see the image as a real entity rather than what it truly is. Different artists throughout the years have used this technique from Hans Holbein to Kurt Wenner and Edgar Mueller. Artist Edwaert Collier (Colyer) makes use of the technique in his painting “Trompe l’oiel with Writing Materials” which depicts a board containing several different items, which have the appearance of it being possible to pick them up from the board. Not only has Collier painted the items in a way that makes them look like you could pick them up but he has created the painting so that it doesn’t look like a painting at all.


Oil painting - Trompe l'oeil with Writing Materials
Trompe l’oeil with Writing Materials by Edwaert Colyer.



Another type of Trompe l’oeil is Anamorphosis, where an image is created in order to deceive the viewer into thinking it is a real object, however, unlike Trompe l’oiel the image is not always that recognizable as first glance. The use of Anamorphosis was quite popular during the 16th to the 18th Century and was used by Hans Holbein in his painting “The Ambassadors”. Holbein’s painting “The Ambassadors”, depicts Jean de Dinteville (French Ambassador during 1533) and Georges de Selve ( Bishop of Lavaur) leaning on a wooden stand that contains many items. However, in the lower portion of the painting, there appears to be a distorted image, when viewed at the right angle the distorted image becomes clear and reveals that it is, in fact, the image of a skull.

See the source image
The Ambassadors by Hans Holbein painted in 1533.


See the source image
The reveal of the distorted image in The Ambassadors by Hans Holbein.









Another type of Anamorphosis is that of Mirror Anamorphosis which was used by Hungarian artist Istvan Orosz, who, shown in the image below, created a scene from The Mysterious Island, a classic novel written by Jules Verne. When a mirrored cylinder is placed in order to cover the moon, a second image is revealed, a portrait of Jules Verne himself.

The Mysterious Island by Istvan Orosz based on Jules Verne.


Street Art.

In modern times Anamorphic art is used in street art by the previously mentioned artists Edgar Mueller and Kurt Wenner, with them creating large scenes on street pavements.


By Kurt Wenner.
Kurt Wenner
By Kurt Wenner.


Anamorphic Drawings.

Pushing my research further I decided to create my own Anamorphic drawings, having seen them in the past but with no idea how it was done, I was quite intrigued to try it for myself. I completed three versions as I felt the first looked slightly off, the second attempt is better but I feel my third attempt is the best overall.

Attempt 1.


Attempt 2.


Attempt 3.


I then went on to create an anamorphic drawing of stairs, making two versions, I like the first attempt for its texture and tone, however, I like the second attempt due to it’s larger size and placement on the paper.

Attempt 1.


Attempt 2.



Glass drawing.

I went on to see if I could create a drawing using Trompe l’oeil like Collier, to create an object that looks as if you can grab it. I chose a glass beer glass as I quite enjoy drawing glass, I also thought that it would give me a bit of a challenge as it’s not the easiest of subjects. On it’s own the image that I have drawn looks fairly realistic and in parts looks graspable, however, placed alongside the original glass you can tell which is real and which is not. I feel if the bright highlights on my own drawing were brighter it may have added to a realistic appearance. I tried to make the highlights brighter by using Tipp-ex as I had previously seen someone in the past use it that way but unfortunately, it didn’t have the bright outcome I was hoping for. I may come back to this to see if I can make it brighter.




Anamorphic glass drawing.

Inspired by drawing the glass I decided to see if I could incorporate the use of Anamorphosis into my drawing. This wasn’t an easy task however it was interesting to complete. I can see that I have managed to create a sense of realness with the glass coming up away from the page but I can also see that the glass still looks distorted with the angles and shapes not being completely accurate to the original. I think it’s not a bad first attempt but I need more practice with the subject and hope to come back to this.




Pierrette Bloch.

Pierrette Bloch, a painter and textile artist, born in 1928 in Switzerland, was considered as one of the most renowned French post-war artists. Bloch used a variety of materials including ink on paper, hardboard, collage, rope, and horsehair. Bloch favoured working with lines, dots, and hyphens. With her being most known for using horsehair curled up and applying the addition of ink splashes and dots. It has been said that Bloch used “poor materials” which is noted in a review of her exhibition “Pierrette Bloch’s work is characterized by the use of poor materials and reduced motifs” [  2019].

What is the definition of poor art?

According to the Tate website Arte povera means literally ‘poor art’ but the word poor here refers to the movement’s signature exploration of a wide range of materials beyond the traditional ones of oil paint on canvas, bronze, or carved marble. Materials used by the artists included soil, rags, and twigs. In using such throwaway materials they aimed to challenge and disrupt the values of the commercialised contemporary gallery system” [Tate 2019].

With the statement above in mind, it could be said that Bloch used “poor materials” due to the fact that they were quite cheap, fairly mundane (materials that could be thrown away and easily passed up) and used as a type of protest against a very commercialised art world. Her work explored the use of these materials in a non-traditional way rather than the traditional use of canvas, oils, etc. Due to the use of cheap materials, this took away any intrinsic value it could have had, with Bloch choosing to focus on the artwork itself and trying to draw the viewer’s attention to it. She allows for the artwork itself to do the talking.

During her work Bloch is very passionate about the nature of line which is supported by not only the image created but the materials used, the application of ink on to paper and the use of dark hair placed on light support for that monochromatic effect (instead of the possibility of being overwhelmed by the use of colour). The way in which Bloch works allows for the blurring of what is drawing and what is sculpture.

Untitled by Pierrette Bloch in 2010.
By Pierrette Bloch.


Louise Bourgeois’ Spider.


Spider by Louise Bourgeois in 1994.

The display caption reads: “This large-scale bronze spider carries a granite egg in her sack, revealing Bourgeois’s interest in the creature as an image of the strong mother: protector, creator, and repairer. In 1995 Bourgeois wrote a poem about her mother, who died when the artist was young. She compares her to a spider, ‘because my best friend was my mother and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and useful as an araignée [spider]. She could also defend herself, and me…’ Gallery label, October 2016” [Tate, 2019].

“To what extent would you say that this piece by Louise Bourgeois is a drawing?”

Before this section of the course, my answer to this question would have been no, it isn’t a drawing it’s a sculpture. However, I have come to understand that drawings don’t have to be done using graphite or charcoal and they don’t have to be two-dimensional on a flat surface plane, they can be made of anything and take any form.

Drawing is more of an act of exploration, to take an idea and give it form which is shown in Louise Bourgeois’ Spider. Bourgeois has come up with the concept of a spider in order to represent motherhood and the protection that comes along with it, as a spider nurtures it’s offspring and protects them strongly. Bourgeois has then pushed this concept further by creating it into a three-dimensional form.


The National Gallery, London. 2019. Hans Holbein the Younger | The Ambassadors | NG1314 | National Gallery, London. [ONLINE] Available at: [Accessed 27 August 2019].

sauvage27: GLI AMBASCIATORI (The ambassadors) – Hans Holbein il Giovane. 2019. sauvage27: GLI AMBASCIATORI (The ambassadors) – Hans Holbein il Giovane. [ONLINE] Available at: [Accessed 27 August 2019].

V and A Collections. 2019. Trompe l’oeil with Writing Materials | Colyer, Edwaert | V&A Search the Collections. [ONLINE] Available at: [Accessed 27 August 2019].

The 8 Percent. 2019. Artwork of the Week: Anamorphic Jules Verne – The 8 Percent. [ONLINE] Available at: [Accessed 27 August 2019].

Edgar Mueller [Project] The Crevasse. 2019. Edgar Mueller [Project] The Crevasse. [ONLINE] Available at: [Accessed 27 August 2019].

Edgar Mueller [Project] Emerald Cave. 2019. Edgar Mueller [Project] Emerald Cave. [ONLINE] Available at: [Accessed 27 August 2019].

Article title: ‘Spider’, Louise Bourgeois, 1994 | Tate
Website title: Tate
Author Mark Brown
Article title: Spider woman Louise Bourgeois to star in new Tate Modern gallery
Website title: the Guardian
Article title: | Galerie Karsten Greve
Website title:
Article title: | Galerie Karsten Greve
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Article title: Arte povera – Art Term | Tate
Website title: Tate
Article title: | Galerie Karsten Greve
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Article title: Pierrette Bloch Retrospective at Galerie Karsten Greve, Paris | VernissageTV Art TV
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