This paper will introduce the current dilemmas and working practices of a group of artists as they work together to develop the content of this abstract for the Telling Places conference.

Through our work we recognise the relationship between processes of collaboration and the state of drawing – where an idea is in flux, involving rubbing out and reforming, a space of experiment and change which is subject to failure, recognition that you need to put something down in order to make adaptations, alterations and/or something new. That you can reform, begin again, synthesise, find common ground, alter and amend.

Using different disciplinary knowledge from: drawing in fine art practice, ‘creating a good black' (i) and from Communication Management, Joharis Window (ii), in relation to guidelines for abstract writing, the group will investigate starting points, negotiation and the security of frameworks.

Members of the group each have different specialisms, knowledge, frames of reference and time - and are searching across disciplines for new models of working and defining their practice

Methodologies used to prepare and present this paper are informed by practical research conducted in the public realm through the ‘activities’ of projects - engaging with people and places.

Our projects have placed the artists working process within the public domain; opening a process which is normally closed from view and thereby challenging the artist’s processes and the viewers expectation of the ‘art object’. The work is unexpected, open to potential misunderstanding, misinterpretation. Tension is an inevitable part of the process. The artists are balancing the vulnerability of experimental practices (and their own vulnerability) in the context of presenting work.

making a good black = contextual (architectural) grid for abstract writing ?
................................................................ Joharis window

In their presentation the group will deconstruct their process of creativity revealing attributes and aspects of their collaborative drawing practices.

i) Notes received during an investigation about creating a good black in drawing
…………colours must be balanced in order that the black is not biased…………………………………………………………………………………………………………… the black achieved through graphite is limited by the blackness of the
> graphite material itself: graphite is not black but dark grey …………………………………the graphite medium, being lubricative, prevented itself from accumulating………………

? While writing this, I pondered the question...is black the opposite of
> white?
> I think not,..how can it be when they share so many commonalities.....
> AND
> isn't it strange how, when you are in a space and totally surrounded by
> dense blackness, you are able to project your mind's light into it,
> visioning light patterns and hazes. It seems we absorb and emit light, as
> a means of combatting darkness.

Email from emma moxey

ii)