Clare Churchouse is a New York-based artist originally from the UK. She received a B.A. visual arts, Lancaster University and an M.F.A. art, Reading University (UK). She has participated in the International Studio and Curatorial Program, NYC; Triangle Workshop, NYC; Vermont Studio Center; and Art Omi, NY; and is a Bronx Museum Artist in the Marketplace (AIM) spring 2017 participant. Her work has been exhibited widely, including The Richard E. Peeler Art Center, DePauw University; the ISE Foundation, NYC; Art in General, NYC; NYU’s Kimmel Windows, NYC; Pierogi Gallery, Brooklyn; Smack Mellon, Brooklyn; The Bronx Museum of the Arts; Clove 2, London; and Berlin’s Deutscher Kunstlerbund eV. She is the recipient of a London Arts Board Artists Award, Birmingham University’s Barber Institute of Fine Arts Revision Award, and a John Anson Kittredge Educational Award.


The work investigates mapping 3-d objects and social spaces onto 2-d surfaces. She examines the material bases of mapping systems, and the systematic ways that spaces are plotted in architectural projections, GIS mapping, and cartographic projections. She transforms this data into spatial narratives. By so doing, she explores the relation of drawing, regarded as a system of mark making, to contemporary data visualization systems and to the recording of memories.

These investigations consist of two related series: wall-based installations made up of spare projections described in thread, and drawings on mylar. In the wall installations, sewing thread is tied to brads to create partial outlines from different viewpoints, and, underneath, fragments of image information systems are drawn directly on the wall with chalk to suggest urban infrastructures, archival maps, objects, abstract marks, and timelines. Each piece is structured using projections combined together to allude to more than one space. Materials are used sparely in order to focus on the tension between not much and something.

The mylar drawings incorporate printed photographs. Lines are drawn with pencil onto these images and the printing ink is partly erased. One series dispenses with the digital altogether and plays descriptive lines off pencil marks in repeated grids.

The works document how materiality, space and temporal changes constitute visual, mapping systems wherein we remember places. The drawings attempt to incorporate a sense of place, not by fully defining objects but by partially outlining fragments.