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Leamouth: Why June 30 is the deadline for Trinity Buoy Wharf Drawing Prize entries

Annual award is appealing to artists to submit their work to be in with a chance of winning £10,000

Submissions are now open for the 2023 prize

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People have been drawing for a long time.

Hand stencils have been found in caves dating back around 64,000 years but the act of making marks on a surface has perhaps never been as widely celebrated as it is today thanks to innumerable social media time lapse videos.

Things were very different in 1994, however, when artist and academic Anita Taylor set about founding a drawing competition.

“I founded it when I was working in higher education at an art school in Gloucestershire because it was hard to teach drawing without showing students contemporary examples,” said Anita, who today is professor at and dean of Duncan Of Jordanstone College Of Art And Design at the University Of Dundee. 

“What was then the Rexel Derwent Open Drawing Exhibition was one way of supporting artists who draw by giving them the opportunity to show their work.

“But it was also a great opportunity to give students the chance to see the work of artists who made drawings and were drawing now.

“Contemporary drawings were difficult to see other than in museums up to the 1990s, so the exhibition has grown from there.

“It has become very popular and there has been a very big submission.

“Through that we’ve built a lovely community of artists who want to test their work through the format of an exhibition.

Dean of Duncan Of Jordanstone College Of Art And Design at the University Of Dundee, Professor Anita Taylor

“It also works to further education in terms of being able to share drawings and discourse about them with schools, colleges, universities, researchers and the public, of course.”

The competition has been through several iterations since it was founded, including some 16 years as the Jerwood Drawing Prize with funding from the Jerwood Charitable Foundation.

Today the Trinity Buoy Wharf Drawing Prize has been in east London for the past six years – supported by Eric Reynolds and the team at Urban Space Management in Leamouth.

Attracting more than 3,000 submissions, it culminates in an exhibition of some 65 works, which starts off in east London before touring the country.

A panel of selectors is responsible for choosing the shortlisted entries and awarding four prizes – first and second place for £8,000 and £5,000 respectively, a student award of £2,000 and the Evelyn Williams Drawing Award of £10,000, which is given every other year.

There is also a separate submission and selection process for working drawings with a prize of £2,000.

All submissions from the UK need to reach the selectors by June 30, 2023.

“Drawing is hugely important to everybody as a vital means of communication and expression,” said Anita.

“It’s something that we all do, but it has become a very sophisticated language and something that enables us to see where we are in the world – to understand what it is to be human and to communicate effectively.

“It covers the whole range of languages, medium, purposes. We’re looking for drawings that are different in their form, intent, content and execution.

Anita founded the prize to provide a place to see drawings other than in museums

“It might be a performance drawing, a diagram, an expressive drawing – we don’t define what a drawing is, but we do ask people to consider what a drawing is.

“Then, it’s for the panel to decide what a good drawing is and find a good drawing they can agree on.

“It’s a very broad field and this is part of our discussion about what a drawing is today. That’s why we have a series of experts reflecting on this.

“We’ve had works entirely found, works that have been performance drawings and works that are beautifully executed – more conventional drawings.

“We’ve had fantastic things and amazing artists in the show.

“We’ve had phenomenally well-established artists, either at the beginning of their career and also later in their career.

“It’s a great thing where people feel open to test their own drawings.

“We see works by students, by various published artists and people who draw but may not be artists – engineers, for example.

“It’s the panel’s decision whether to include digital work, but if it’s original work, then some argue it shouldn’t be reproducible – but it really depends what its purpose is.

“David Hockney’s digital drawings are really amazing, for example, so we think we will see drawings that reflect that interest, but it will be down to the selectors to see which ones they want to include in the exhibition.”

The exhibition will be in Trinity Buoy Wharf from September 27, 2023

The 2023 panel making those decisions for the main prizes will be Laura Hoptman, executive director of The Drawing Center in New York, Dennis Scholl, collector, arts patron and president and CEO of Oolite Arts and British artist Barbara Walker.

It will be their deliberations, which result in the content of the exhibition, which is set to launch on September 27, 2023, at Trinity Buoy Wharf.

“I hope people who come and see it will be excited by drawing – that most humble of activities,” said Anita.

“It’s something that appeals to everyone. I hope they will see that drawing is really inclusive.

“It’s an extraordinary space that explores and reflects all sorts of different approaches to drawing, to see marks on paper, on the ground, on film, on tracing paper – testaments about being alive in the world today.

“I should like visitors to take from it that everyone can draw, and we’ll include everybody.

“We’ll also have a fantastic education pack and we’ll be encouraging schools and colleges – everybody – to get involved.

A panel will draw up a shortlist of entries, which will be exhibited

“The exhibition is set to finish on October 15 at Trinity Buoy Wharf before it goes on tour everywhere.

“It’s something people all over the country can really enjoy because drawing can help them deal with complex issues in a way that can engage others.

“That’s one of the beautiful things about it – it can take people on a journey without them feeling that it’s complicated.

“It’s perhaps less frightening and more inviting than other kinds of art.

“The space at Trinity Buoy Wharf is so welcoming, so open and so reflective.

“Anyone is welcome to submit work, but we would recommend that people are over 18.

“There’s no age limit as such – we don’t want anything that would stop work being submitted.

“So if you think it’s a drawing – a good one – and it’s a drawing you want to test in this kind of way, then it’s a fabulous opportunity to get your work seen by a really distinguished panel.”

Submit entires via this link.

The programme will include works by Haydn, Wagner, Dvorak and Coleridge-Taylor as well as readings of poetry by Emily Dickinson and Carol Ann Duffy.

The concert is set to take place on June 18 from 2pm-3.45pm with tickets costing £14.25.

Read more: How Kinaara on Greenwich Peninsula offers authentic Indian flavours

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via
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Leamouth: How Trinity Buoy Wharf could combine a river crossing with flats

Living Bridge would join agreed Hercules plan over the Lea to connect Newham and Tower Hamlets

An artist's impression of USM's Living Bridge idea
An artist’s impression of USM’s Living Bridge idea

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It starts with an idea. The concept of people living on bridges isn’t new – they’ve been doing that for hundreds of years all over the world.

But Urban Space Management’s (USM) “aspirational” suggestion for a residential crossing at Trinity Buoy Wharf, spanning the mouth of the River Lea still feels a little bit visionary.  

There’s something inherently attractive about inhabiting structures over water. Looking back, we have the historical romance of the Old London Bridge and the Ponte Vecchio in Florence, for example. 

Flowing forward, there’s author William Gibson’s sci-fi vision of a jerry-built, self-governing shanty town clinging to the steel bones of San Francisco’s Bay Bridge.

This imaginary leap into a near future – where a ribbon of infrastructure is repurposed by a passionate, vibrant community of squatters, reacting to the pressures of insufficient housing and oppression – is a flash of what necessity and collaboration might be capable of. It’s counter-cultural, haphazard and seductive.

USM’s plan for a Living Bridge has something of both examples.

It’s a functional proposal – a connection to Royal Docks for pedestrians and cyclists that would ensure a flow of traffic through the existing site. 

But it’s also the root of a future community, with around 70 properties suspended from the steel arch that would support the entire structure – brought to life in Cartwright Pickard’s illustrative designs. 

USM founding director Eric Reynolds
USM founding director Eric Reynolds

Access to the river would be preserved for taller vessels with a section of the bridge able to lift to allow safe passage.

Planning permission has already been granted for one crossing in the area – Hercules Bridge over the Lea on the northern edge of Ballymore’s Goodluck Hope development. 

If built, this would connect to both a footpath towards Canning Town station as well as to the Lower Lea Crossing flyover for access to Royal Docks.

USM is currently gathering feedback on a range of ideas to improve connectivity in and around Trinity Buoy Wharf, with a consultation running until July 20, 2022.

Its plans aim to help overcome barriers such as roads, rivers and railways to make journeys that are complicated now, simpler in the future.

USM founding director Eric Reynolds said: “Right from the beginning, I thought the problem for this whole bit of London was that it is disconnected from itself in every way. 

“Standing on the roof of the building that’s now occupied by Faraday Prep School at Trinity Buoy Wharf in the late 1990s, it was clear we should be doing something about this.

“Our outline planning application for the site allows us to build a bridge as a continuation of Orchard Place because it always seemed to me that the Lea should have more than a road bridge over it – there should also be something for pedestrians and cyclists.

“We should be connecting people, not just for us, but also for people living north and east of here – in Canning Town for example.

“They should see the river as part of their back or front garden, not something that’s just hidden away.”

A rendering of the Living Bridge by night
A rendering of the Living Bridge by night

The case for a second bridge becomes increasingly clear when future development is taken into account.

The Thameside West scheme is expected to deliver some 5,000 new homes just across the river as well as a new DLR station, a school and industrial and creative workspaces.

“One of the things we did achieve years ago was to persuade the DLR planners to leave a straight bit of track on that land to allow potential for that station,” said Eric.

“It didn’t make sense then, but, with thousands of homes and a new town centre coming, it does now.

“Regarding the bridge – it may be that we put homes on it, we don’t know yet. We think there are two good reasons for doing it.

Firstly it creates new land and a new opportunity for a community.

“Secondly, in doing that, it offsets the cost of the bridge – so there’s an economic and a social argument.

“The Living Bridge would also be a big signpost to the importance and value of the River Lea, which was a vital part of the transport of this area – a line of power and industry – before it silted up. It deserves that recognition.

“Imagine coming up the Thames and seeing this out-of-scale bridge, all lit up with people living inside it.

“I really think it would appeal to Londoners – every building along the river is worked so as many properties as possible have views of the water.

“Here it would be right underneath – with no risk of anyone building in front of or behind you.”

An artist’s impression of the Hercules Bridge proposal

But does an area that is already connected to Canning Town via London City Island’s bridge and, potentially the already agreed Hercules Bridge really need another crossing?

“At the moment, the existing bridge takes you to the top of London City Island but we have an awful lot of walkers, dog owners, cyclists, hikers and so on who come to Trinity Buoy Wharf and would really like not to have to go back on themselves,” said Eric.

“The Hercules Bridge gives people the chance to do something different – to walk round the edge of the Lea and follow the river north. 

“What the Living Bridge would do is to make it much easier to follow the Thames along the southern edge of Royal Docks as far as Barrier Park.

“It increases the potential for pedestrians and cyclists to reach these areas.

“It’s also in some ways an attempt to re-invent a community that was here in the past.

“There was a small fishing community and a school here, which was wiped away when local authorities decided that slum clearances were the thing to do.

“There also used to be a little ferry that took people across the Lea because the Thames Ironworks and Orchard Wharf needed to get their workers to work.

“During the Crossrail Works, the foundations for that ferry were found, so this has grown partly out of what we perceive as a respect for the past and an aspiration for the future.”

At present Trinity Buoy Wharf is a dead end for walkers and cyclists
At present Trinity Buoy Wharf is a dead end for walkers and cyclists

Read more: Genomics England set for relocation to Canary Wharf

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via
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