“There is no energy left, they’re tired of soaring to the top of the paper or flourishing with brio. No deciding marks or spots but a washed out flop of ennui. They hang from chains, suspended and slipping from the wall, dangling their feet about the skirting board threatening to puddle on the floor. The ink runs down the frayed strips unguarded, delicately wafted by air with compliant complacency, so no longer is there a perfect, blank white space where marks choreograph or compose the page. Instead these tangle and melt into one another, spiralling in exhausted patterns until they sink into torpor, depleted of vigor, and wearily stop short. They cannot bother to exert, preferring just to jumble with other marks: a garbage of collaborative, automatic language and mixed meanings. There is nothing else to say. All arguments have been used up. All, a nonsense, leaving the chains as the last, and only, means of support that this language now has”. (Jan. 2013)
Julie Brixey-Williams is an artist working with gesture through calligraphic drawing and the body’s performative relationship with architecture and space. Working in various media, she has produced artist’s books, drawing performances for the V&A and the BBC and, in 2004, spent 10 months working with the Association of Anaesthetists of Great Britain and Ireland on a body of work entitled Traces of the Invisible. She is currently working with Libby Worth on a collaborative series, the first of which is Step Feather Stitch: an unfaithful reading of dance and embroidery patterns. Her personal thread of research continues around calligraphic gesture, threshold and line. She has a particular interest in collaborative working through scores and is a member of the Royal British Society of Sculptors and the collaborative group point and place.