Claire Anscomb, Poise. My practice as an artist revolves around drawing - meticulously recreating with graphite the world around me often through utilising photographs and other archival ephemera to imaginatively collage and realise my imagination on paper. © Courtesy of the artist and Derwent Art Prize 2014
a drawing of a woman in pearls amidst ripped paper
Jessie Brennan, A Fall of Ordinariness and Light. In 2014, Jessie Brennan was commissioned by the Foundling Museum to make a new work in response to William Hogarth’s A Rake’s Progress. © Courtesy of the artist and Derwent Art Prize 2014.
a drawing of a block of flats
Jessie Brennan, A Fall of Ordinariness and Light, explores progress as a concept in the context of urban gentrification within one of London’s most economically deprived boroughs, Tower Hamlets, where the artist lives and works. © Courtesy of the artist and Derwent Art Prize 2014.
a drawing of a collapsed building
Chris Dunseath, Both here and there. Some of my work is influenced by aspects of Theoretical Physics and relates sculptural and 2D concerns and with ideas that investigate the nature of space, mass and time. The drawing ‘Both Here & There’ is partly concerned with the Uncertainty Principle where an accurate measurement of a sub atomic particle’s position results in a less precise measurement of its momentum. © Courtesy of the Artist and the Derwent Art Prize 2014
a drawing of cylindrical shapes
Brian Fay, Looted salt mine 1945 Manet in the winter garden. This drawing is taken from a series based on the Monuments Men archive. They are based on photographs taken in 1945 of stolen artworks that were hidden during the Second World War. The drawings attempt to emphasise the vulnerability of the paintings as objects when sited outside their normal museum context, and to depict the form of documentation that was used to record these discoveries. © Courtesy of the Artist and Derwent Art Prize 2014.
a drawing of US servicemen looking at an artwork in an underground mine shaft
Meghan Hyckie, The cloud. Essentially, all of my drawings are investigations into how to construct and deconstruct an image. The Cloud is part of a series started in 2011 that explores North American post-war utopian ideals and anxieties and their resonance today. © Courtesy of the artist and Derwent Art prize 2014.
an impressionistic drawing of purples and greens resembling a cloud
Katy Sayers Green, Indecipherable texts 2. Using multiple layers of organically refined beeswax, Katy draws with graphite on each successive layer. The works have a disarming aroma and a tactility that the artist combines with an intuitive sense of colour, arresting the viewer and extending the ancient technique of encaustic still little known in this country. © Courtesy of the artist and Derwent Art prize 2014.
a drawing with indistinct ink blue ciphers across it