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In life drawing classes everyone normally uses paper and a pencil, studying the subject intensely. But I bring different pieces of textiles and choose one depending on the set up and the sitter. There is never one way I go about my drawing on textiles.

Back in 1996 in life drawing classes at the Kaunas Art College I was taught by two amazing old lecturers, artists (bless them). And I enjoyed learning the techniques of the precision using a line to indicate the shape or contrast on paper, focusing on the correct proportion and especially the likeness. 

But in the last few years through drawing on textiles I have found another way to communicate what matters to me in any particular life drawing set up. I respond to the drama of the subject matter provided as well as I respond to the textiles. The textures and thickness of textiles, the brush and the ink is always a unique, momentary, spontaneous, intuitive performance of its own. It is scary to make a mark at first, there is no way to rub it out, but that is the magic of going ahead and join mark with a mark, objects, things, events, people and see how they come together.

I enjoy staring at my drawings for hours wondering what happened there, I hope you enjoy that, too.
In life drawing classes everyone normally uses paper and a pencil, studying the subject intensely. But I bring different pieces of textiles and choose one depending on the set up and the sitter. There is never one way I go about my drawing on textiles.

Back in 1996 in life drawing classes at the Kaunas Art College I was taught by two amazing old lecturers, artists (bless them). And I enjoyed learning the techniques of the precision using a line to indicate the shape or contrast on paper, focusing on the correct proportion and especially the likeness. 

But in the last few years through drawing on textiles I have found another way to communicate what matters to me in any particular life drawing set up. I respond to the drama of the subject matter provided as well as I respond to the textiles. The textures and thickness of textiles, the brush and the ink is always a unique, momentary, spontaneous, intuitive performance of its own. It is scary to make a mark at first, there is no way to rub it out, but that is the magic of going ahead and join mark with a mark, objects, things, events, people and see how they come together.

I enjoy staring at my drawings for hours wondering what happened there, I hope you enjoy that, too.
In life drawing classes everyone normally uses paper and a pencil, studying the subject intensely. But I bring different pieces of textiles and choose one depending on the set up and the sitter. There is never one way I go about my drawing on textiles.

Back in 1996 in life drawing classes at the Kaunas Art College I was taught by two amazing old lecturers, artists (bless them). And I enjoyed learning the techniques of the precision using a line to indicate the shape or contrast on paper, focusing on the correct proportion and especially the likeness. 

But in the last few years through drawing on textiles I have found another way to communicate what matters to me in any particular life drawing set up. I respond to the drama of the subject matter provided as well as I respond to the textiles. The textures and thickness of textiles, the brush and the ink is always a unique, momentary, spontaneous, intuitive performance of its own. It is scary to make a mark at first, there is no way to rub it out, but that is the magic of going ahead and join mark with a mark, objects, things, events, people and see how they come together.

I enjoy staring at my drawings for hours wondering what happened there, I hope you enjoy that, too.
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The Sitter and the Shade – Limited edition of 1 Drawing

Neringa Dastoor

United Kingdom

Drawing, Ink on Soft (Yarn, Cotton, Fabric)

Size: 11.7 W x 16.7 H x 0.1 D in

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$280USD

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About The Artwork

In life drawing classes everyone normally uses paper and a pencil, studying the subject intensely. But I bring different pieces of textiles and choose one depending on the set up and the sitter. There is never one way I go about my drawing on textiles. Back in 1996 in life drawing classes at the Kaunas Art College I was taught by two amazing old lecturers, artists (bless them). And I enjoyed learning the techniques of the precision using a line to indicate the shape or contrast on paper, focusing on the correct proportion and especially the likeness. But in the last few years through drawing on textiles I have found another way to communicate what matters to me in any particular life drawing set up. I respond to the drama of the subject matter provided as well as I respond to the textiles. The textures and thickness of textiles, the brush and the ink is always a unique, momentary, spontaneous, intuitive performance of its own. It is scary to make a mark at first, there is no way to rub it out, but that is the magic of going ahead and join mark with a mark, objects, things, events, people and see how they come together. I enjoy staring at my drawings for hours wondering what happened there, I hope you enjoy that, too.

Details & Dimensions

Drawing:Ink on Soft (Yarn, Cotton, Fabric)

Original:One-of-a-kind Artwork

Size:11.7 W x 16.7 H x 0.1 D in

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Neringa Dastoor (b.1978, Lithuania) is Alumna of the Royal College of Art in London. She moved back to London England after 2 years in Brooklyn, New York and 2 years in Brighton. She makes marks whether with her own made oak hall ink or thread. Materials play a big part embodying more than the eye meets. She is also ma-ma to two young children.

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