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Jump Drawing

Claire Zakiewicz

United Kingdom


Size: 59 W x 75 H x 0.2 D in

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About The Artwork

The essence of my work stems from the automatic act of drawing. Using a language that oscillates between chaos and order, of spontaneous mark-making and structural motifs based upon fundamental principles in drawing, the paintings speak to Surrealism’s automatic drawings and writings, action painting from the Abstract Expressionists and Japanese Calligraphy. Working either with eyes closed or otherwise through observation by sight, my practice becomes a series of meditations in space. Instinct-based gestures leave piles of drawings to sift through. Further depth is created with layers of clear acrylic or resin, collage or structural devices such as perspective structures, colour theory or resizing gestural marks through print. My technique explores boundaries of duality and non-duality, of being mindlessly mechanical in dialogue with concrete practices and thinking, ever developing my craft: this dialogue evolves into sustaining habits, and these habits establish a rhythm between problem solving and problem finding. I am currently writing an essay titled: Struggle and Surrender: Process and Material in Painting. for a volume on the Aesthetics of Imperfection edited by British Philosopher Andy Hamilton.

Details & Dimensions

Drawing:Ink on Paper

Original:One-of-a-kind Artwork

Size:59 W x 75 H x 0.2 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I am a British artist based between London and New York. Through my practice I ask, how does sound perform in drawing? What is it to draw words? What is it to draw from observing the world around us? What is it to draw from memory? How do we draw the imagination? Can we escape the confines of our prescribed patterns - whether our brain synapses or our muscle memory? My process follows simple patterns that lead to complex and ambiguous outcomes - sometimes following the rhythm of the breath with a series of lines, or seemingly random marks with the attention on sounds within the space or movements of the body. I examine the differences between internal and outward observation. My main area of research has been the physical and metaphorical relationships between drawing and sound. I ask: "how can we draw parallels between the languages of drawing and the evolution of our human experience?" The tensions between failure and resolution and using mistakes as material are some of the ways in which improvisation is navigated within my compositions. My works examine conceptions of tracing memory, history, the duality of interconnectedness and isolation and the body as a carrier of data. My works have been presented at international institutions such as Tate Tanks and Tate Britain (London) in the exhibitions Tweet Me Up (2011) and Label (2012), in the group show Alive In the Universe (2019) for the 58th Venice Biennale and have been shown at NOoSPHERE Arts (New York), Bill Young's Dance Studio (New York), The Last Frontier (New York), and The Aldeburgh Beach Lookout (UK). As well as performing in my own productions, I recently appeared in He Said, I Thought (2019) by Carol Szymanski at Signs and Symbols Gallery (New York) and Triple Moon Goddess (2019) by Jana Astanov at The Cell Theatre (New York) and at Spherical Symmetry ARTI3160 (Venice, Italy). In 2018, I formed the ensemble Assembly, which includes multi-disciplinary artists who focus primarily on concepts of improvisation. Communication between modes of perception is the main focus. Members have included the dancers Mariana Alviarez and Laura Colomban, actor Siw Laurent and singer/cellist Lenna Pierce. We have performed at institutions including The Mothership (New York) Plaxall Gallery (New York), Itinerant Performing Arts Festival (New York) and ARTI3160 (Venice). Between 2009 and 2012 I was a member of the ensemble Fig.

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