Today, drawing is considered a major artistic discipline. Its expressive possibilities offer us an astonishing diversity of forms and thoughts that reflect the sensibility and commitment of the artists. Drawing, while part of a tradition, relies on a set of techniques and is characterized by an original dynamic. Like writing, drawing is both gestural and constructed, a line and an intelligible sign. Drawing may be a timeless art form, but the space of drawing in contemporary art is constantly being reinvented. Drawing today is necessarily an inquiry into our relationship with the world, through its rhythm and its materiality.

The aim of the studio is for students to acquire artistic independence through in-depth knowledge, appropriate skills, an original sensibility and the ability to critically evaluate their own work.

On a day-to-day basis, students are required to seek out, decipher and take into account the information that will determine their personal approach. This information can come from the outside world, particularly the art world, but also from their own imaginations, which they will learn to explore.

The teaching team supports each student’s research with regular supervision and theoretical or practical advice. From time to time, guest lecturers (artists, gallerists, art critics, exhibition curators, directors of institutions, etc.) are invited to talk about specific topics.

Teaching takes place mainly in the studio, where students from all levels (Bachelor’s and Master’s) work together. This collective dimension is important in the sense that each original contribution is considered indispensable to all. Collaborative practices are supported.  

The studio’s teachers interact closely with the art courses, general courses, internal and external internships and, more generally, with all the learning activities undertaken by students enrolled in the Drawing studio.

In the Master’s programme, students do an internship in a professional context (with an artist, in a gallery or museum) and, alongside their visual work, carry out theoretical research or produce a final report addressing the issues raised in their work. This exercise is accompanied by specific supervision.

Ongoing analysis of their practice focuses on their personal investment, regularity and commitment, their awareness of conceptual and technical choices, the development of their research, the relevance of their references, and the visual qualities and originality of their creations.

Pedogagical coordination

Catherine Warmoes

Pedogagical staff

Teachers
Aleksandra Chaushova, Céline Gillain, Emilio López-Menchero, Emmanuel Tête, Yoann Van Parys

Assistant
Tom Hallet

Lecturers
Yann Bagot, Peter Depelchin, Damien Deroubaix, Fraukje Engels, Isabelle Happart, Marine Pagès, Annelore van Dijck