Lovely to see my work, Occlude (2023) in-situ because I didn't make it to the opening of the Hazelhurst Art on Paper Prize. @hazelhurstartscentre
First image by @silversalt_photography
This work references the millions of women whose names were not used on official documents, or even their tombstones in some countries. They were just referred to as, ‘daughter of’ or ‘sister of.’ As data-points they are lost to us - a kind of digital genocide is playing out.
This work was made after discussions with Muneera Bano, Principal Research Scientist with CSIRO’s Diversity and Inclusion in AI group.
Occlude (mother of, daughter of, sister of), 2023
Pin holes in watercolour paper, 3 panels each 30x20cm. Edition of 3.
#hazelhurst #artprize #hardtophotograph #digitalgenocide #belindayee #worksonpaper #drawingprize #researchbasedpractice #pinholes #silent #drawing #expandeddrawing #experimentaldrawing #erasure #forgotten #lost #whereismyname #aiart #ai #machinelearningart #datafutures #conceptualart #contemporarydrawing #australianartist
INCREMENT
7-9 November
Wentworth Galleries
175 Pitt St
Performance by Ira Ferris and Ryuichi Fujimura
9 November, from 1pm (open duration)
A quick opportunity in the schedule- thanks for finding a slot Wentworth team!
Materials are more than just matter; they’re imbued with the weight of time and the presence of shared histories. The exhibition INCREMENT explores time as a material that moves around and through us, constantly flowing, measured in change and stillness. Sandstone, graphite, marble, and the human body serve as touchstones for an exploration of time, weaving together the deep temporality of the geological with the fleeting rhythms of human culture and history. The making process is one of careful repetition, where each gesture binds the passage of time to the work’s surface and is a way of marking and measuring time.
@artemisprojects@ryuichifujimura3@wentworth_galleries@christinatsaou
#time #contemporarydrawing #drawingexhibition #performanceart #performativedrawing #graphitedrawing #graphite #sandstone #marble #humanbody #ArteContemporáneo #KunstAusstellung #Dibujo #Dessin #Zeichnen #disegno #artcurator #artcollector #interiordesigner #interiorarchitect #belindayee #wentworthgalleries
.
It's quite some honour to be selected as a finalist in the Kedumba Drawing Award. Super pleased one of my debossed drawings, Observed form (2025), was selected. This image is a sneaky detail, you'll have to see the exhibition to see the rest.
The debossed works are made by pressing into the paper's surface with a river stone. This slow, repetitive act of drawing, binds the present to the page. I think of the stone as history materialised, its smooth surface which enables the drawing, holds the movement of water and weather over millenia. In turn, the drawing carries a sense of ongoingness, a reminder that the present is threaded into a much longer unfolding shaped by forces both ancient and intimate.
Congratulations to the other 50 finalists (very high standard as always) and thanks to @kedumba_drawing_collection_ and to guest judge, @petersharpartist for selecting my work.
The exhibition will be on show at the Kedumba Gallery in Wentworth Falls from 15 Nov to 28 Jan.
#drawingprize #drawingexhibition #australiandrawing #newdrawing #timeinart
2026 Primrose Park resident artist @belindayee is a finalist in the 2026 @omniaartprize with two works "Between line and memory (charcoal profile 2)" and "Between line and memory (charcoal profile 3)".
Says Belinda, "These drawings are made using profile lines sourced from rock faces and escarpments around Sydney Harbour and speak to the millennia of their forming. I like the slow reveal of these works, the way it takes time to distinguish the drawing from the black ground."
If you're in Naarm/Melbourne, check out the exhibition, which runs 22-24 May 2026.
Thank you Drawing Tube for featuring this work on your site - drawingtube.org (link in bio):
and still (2023) drawing performance at Railway Street Studios.
For this drawing performance, I covered my body—arms, face, hair and clothes—with charcoal powder and moved slowly through the gallery space. The intention was not to draw with charcoal, but to allow the incidental scuff marks from my being there, to be captured on the floor and wall. The charcoal marks are secondary to the primary drawing, which is my body moving through space and time. Throughout the performance, I maintained focus within my body, moving slowly and deliberately to explore drawing as movement in time. At another level, the work explores experiences of ‘moving through’, whether physical or emotional. Such that each incidental mark is a fleeting gesture, where presence is held in the act of passing through.
DRAWING TUBE is a collective of international artists and a platform for alternative research and practice of drawing. Through works, events and writing, the artists explore multiple aspects of drawing, from experimental, contemporary practices to the exploration of anthropological aspects of line creation.
Thank you to @nicole_lenzi_studio and the @drawing__tube team, for the invite to show this work.
#performancedrawing #drawingperformance #drawingtube
Super pleased to have two works selected for the St Columba's Art Prize 2026 and that one is a poetry work - @columbasartprize
The last before (a thousand small ruptures). 2025. Pin holes in 325gsm watercolour paper, 35 x 26cm.
Between memory and line (charcoal profile 1) 2026. Scratchboard, charcoal, cold wax, 28 x 35.5cm.
I wrote the poem for a solo show @firstdraft_ , where it was punched into the wall using a nail and hammer. This version is more delicate, consisting of pin holes in watercolour paper. I love this paper because it's so luminous and feels soft and smooth like skin.
All roads point to drawing for me, and both these works explore aspects of drawing in my practice.
#artprize #drawingprize #expandeddrawing
New work this week - I love it. When I first saw it, it had an immediate effect on my body. And still now, three days later, I still like it. In 3 weeks, who knows.
It led me to think up a recipe for ‘good art,’ of the Biennale kind. Probably because Sydney Biennale is on.
- research/bkgnd in something topical/political/cultural —> makes story
- materials with meaning/history
- novel/professional presentation
- sufficient surface complexity
- sufficient ambiguity/slippage
- avoid decoration (unless that’s the point)
- network that will get work seen
This new work doesn’t have most of these traits. It’s thinner, less story, less topical, less presentation, but somehow it has a sense, to me, of something essential.
Let me know if you’d change my cheeky recipe.
That's very exciting. Thank you OMNIA art prize, lovely to have two works selected for the prize. @omniaartprize
Between line and memory (charcoal profile 2)
Charcoal and cold wax on scratchboard
35.5H x 28W cm
Between line and memory (charcoal profile 3)
Charcoal and cold wax on scratchboard
35.5H x 28W cm
These drawings are made using profile lines sourced from rock faces around Sydney Harbour. I like the slow reveal of these works, the way it takes time to distinguish the drawing from the black ground.
#artprize #contemporarydrawing #charcoaldrawing
Flashback to my 2024 exhibition INCREMENTS and in particular this wonderful performance:
By Measure
with Ira Ferris and Ryuichi Fujimura
at Wentworth Galleries
The great thing about redoing your website is revisiting fantastic things that have happened to you. What a privilege and a joy to work with these two. ❤️❤️
@artemisprojects@ryuichifujimura3
And to exhibit in such a wonderful space as @wentworth_galleries 🙏🙏
Images: Mim Sterling and Kieren Gunning
#bodybasedpractice #artexhibition #australianartist
Concrete, Shroud, Text (2025)
It seems even more critical, as Australia seeks to close down discussion, that art continues to draw attention to those topics which should NEVER be hidden. Originally a response to the genocide in Gaza, this work asks for safety, peace and basic human rights for everyone, irrespective of faith, politics, location or nationality. A kind of secular prayer, it extends care and compassion to those impacted by the Bondi Terror attack.
Thank you to the 70+ people from around the globe, who volunteered to write the Universal Declaration of Human Rights in Engliish, French, Chinese and Korean, spending that quiet time as a shared moment of compassion and generosity. Your texts were printed on this shroud. I'll list each person in the comments.
Congratulations to the winners of the Wyndham Art Prize 2026:
Gail Harradine for ‘Djurite rocks, climbing and Jadawadjali.’
yulawil
Safa El Samad for 'Textiles in Gaza.’
@safaelsamad
Penelope Davis for ‘Afterimage: pear/grapes.’
@penelopedavis1
FOOT for ‘Assigned Liminal At Birth.’
#activistart #udhr #gaza #socialpractice
Before the year closes out, there were a few things that went somewhat under the radar because I was busy ….
Received this printed version of my first ever published paper in a peer-reviewed journal.
Sound as Form / Percussive Drawing in
Drawing, Theory, Research, Practice, Vol 10, No 2.
It was pretty exciting to dig a little deeper into @saskia.creative and my sound-drawing performance @drawspacesydney . Each time I revisit this work it opens new avenues to explore.
#soundart #sounddrawing #contemporarydrawings
Part 2 of a @talk.drawing interview with Belinda Yee @belindayee , an artist from Sydney, Australia.
What medium/s do you choose to draw with and why?
I draw across many media. Poetry, video, performance, installation—all drawings, ways of holding presence through the trace of lines. I use sound as a drawing medium, exploring equivalences like tone, repetition, contrast, direction, and transparency. I employ more traditional drawing techniques with materials like graphite, sandstone and silverpoint. Graphite speaks to geological scales of time and yet it remains mutable, so it speaks to the present. Sandstone is important because it has been witness to Australia's fraught colonial history. I have also been drawing with light and shadow by embossing, debossing, folding, and deforming paper. I want to move ‘toward less,’ and these light/shadow pieces are a way of distilling something essential from the barest means.
Any advice for someone wanting to learn/start drawing or for drawing artists at the start of their career?
Learning to draw is about learning to see, so take your time looking. Practice is the only way to get better so enjoy the process.
Is there anything else you would like to say, share or promote?
I approach curation as a form of drawing research, recently presenting the International Performance Drawing Series at DRAW Space. I projected one performance a month through the gallery’s large glass façade on a busy Sydney thoroughfare. I am co-founder of DRAW Space.
Thank you for reading and thank you to Belinda for sharing her experiences and drawing practice.
@talk.drawing is an Instagram account dedicated to sharing the work and practice of drawing artists.
1 Observed form (1)
2 Observed form (2)
3 Belinda Yee The Last Before credit J.Maurer Belinda Yee
4 Breathe
5 Sandstone 1
6 Sandstone 4
7 Saskia Shearer Sound As Form VideoStill
#talkdrawing #drawing #drawingartist #contemporarydrawing #BelindaYee
