Todd Fuller

Learning from the works of Eadweard Muybridge, William Kentridge and even the production houses of Walt Disney Studios, my intention is not only to craft a narrative, but to reveal the process behind the creation of a drawing. For me, this is where the magic lies: in the choices that lead to the finished product, the articulation of space and perspective, the testing of proportions, the layering of tone and the mistakes and misjudgements. These are all elements to be savoured and celebrated in the drawing process.
 

Q&A - 25/7/2023

 
What year were you in the Kedumba award? And what are you doing currently in your practice connected to drawing? I think it was 2016, it was possibly the first year the collection went to Orange. It was a very exciting affair. Drawing is the foundation to my practice. For me it is a vehicle for storytelling, for simulating movement, articulating the physics of bodies in motion, and ultimately compelling audiences to suspend disbelief and enter a drawn reality. I create hand-drawn animations. Painstakingly render one moment at a time, they often focus on regional and queer voices. At the moment I am polishing off a new animation while quietly researching a new story for a major piece in 2024.

How do you feel about being part of a drawing collection? I sincerely believe drawing to be the most exciting and still underrated artform. The distinct hand of the artist, the direct application, its primal qualities, and ever-expanding nature keep me coming back to drawing. The Kedumba forms an invaluable survey of what Australian drawing has been, is, and all it can be. It is an exciting body of work to be part of.

When did you realise you liked to draw? Drawing has just always been a part of my life. There has never been a time when it hasn't driven me. It was a huge part of my childhood, a safety net in my teenage years, and remains a big part of who I am and my day-to-day life as an adult.

How important to you is drawing? It is everything.