2004– PhD Fine Art (practice-based, on the line and drawing), CSM, University of the Arts, London

2000–02 MA Fine Art, Central Saint Martins College of Art & Design, London

1996–99 BA Fine Art, First Class Honours (UEA), University Campus Suffolk, Ipswich


2009 Drawn Together residency, The Centre for Drawing, Wimbledon, London

2007/08 Here Tomorrow residency (July-August), Lethaby Gallery, London

2006 Artist residency (April-May), Firstsite, Minories Art Gallery, Colchester

2004–05 Arts Council England Award

2002–03 Commissions East/East England Arts Award for Artists

2003 Salthouse Harbour Competition commission

2002 Short-listed Observer Student Artist Competition

2001 Prize winner Cable & Wireless Postgraduate Competition

2000 Arts and Humanities Research Board award

1999 Tom Taylor Award of Excellence (fine art)

1999 First Prize Suffolk Craft Society Student Award (applied art)


2008– Associate lecturer, Central Saint Martins College of Art & Design, London

2008– Tutor, artist workshops, DrawEast, Suffolk

2007–08 Artist consultancy and workshops, Kids Company, London

2007 Demons and Angels exhibition with Kids Company, Shoreditch Town Hall, London

2007 Guest artist, The In-between Time, sound drawing workshops, Firstsite, Colchester

2002–06 Part-time lecturer, BA Fine Art, University Campus Suffolk, Ipswich

2003 Visiting lecturer, MA Art & Media Studies, University of Westminster, London

2003 Tutor, artist workshops, UN World Congress of Youth, Morocco

2002 'The Big Arts Week', Arts Council/ BBC school workshops, Suffolk


2009 10th Anniversary Show, North House Gallery, Manningtree, Essex

2009 Fragment: drawings and paintings 2003-2009, The Muse@269 Portobello Road, London (solo)

2009 Line Dialogue III, Performance, The Centre for Drawing, Wimbledon, London

2009 A place called limbo, the Crypt Gallery, St Pancras Church, London

2008 Line Dialogue II, Performance, Liverpool Biennial 08 Independents, Liverpool

2008 Wrapped and Encased, Wolstenholme Projects, Liverpool Biennial 08 Independents, Liverpool

2008 Line process echo repeat, (Line Dialogue I), Performance, Lethaby Gallery, London

2007 Encounters with Time, ongoing collaborative projects and exhibitions, various sites

2006 Marking Time, Artist Space, Firstsite, Minories Art Gallery, Colchester (solo)

2006 Outside, installations in grounds of Cuckoo Farm Studios, Colchester

2006 Beyond the Call of Duty, Town Hall Galleries, Ipswich

2005 ARTAID 2005, Royal College of Art, London

2005 Edge: Encounters with Merging and Dissolving Margins, Jerwood Space, London,

and North House Gallery, Manningtree

2004 Taking a Line for a Walk, Firstsite, Minories Art Gallery, Colchester

2004 Fine Art Open 2004, Hay Gallery, Colchester

2004 Three Artists @ QUODart, Brighton

2003 Aftermath, Ensign Gallery, Whitechapel, London (solo)

2003 Transition, North House Gallery, Manningtree, Essex (solo)

2003 Reduced, Century Gallery, Cremer Street, London

2003 Independence, Christian Boltanski project, South London Gallery, London

2003 Souvenir, Transition Gallery, Hackney, London

2003 Fresh Art, Business Design Centre, Islington, London

2002 Ford, Oxford House/Ashley Gardens Gallery, Bethnal Green, London

2001 Martin, Spitz Gallery, Spitalfields, London

2000 Artists in Essex 2000, Millennium exhibition, Waltham Abbey


2007 ‘Firstsite Papers’ Jane Grisewood: Marking Time by Katharine Stout (Tate Britain/The Drawing Room)

2006 ITV Anglia award-winning Coastal Inspirations, April, interviewed by Paul Gogarty

2005 Many ways to see the sea, Arts Review The Independent, 7 March by Charlotte Cripps

2003 BBC London Online, May, Jane Grisewood: Aftermath, edited by Will Cantopher

2001 ‘Arty’ fanzine, London, September issue, Coming to Transience JULY 2009

Jane Grisewood was C4RD’s Online resident during September 2009. Her project was updated every few days with the progress of her drawings.

Marking time with lines – drawing time with lines – always an action, in movement, scoring marks to disturb surface and confirm materiality, is at the heart of my practice. My preoccupation with the process of drawing is an attempt to retrace and mark time and memories, places and journeys, and focuses on  exploring the  ‘line’ as a dynamic middle space. Operating between two-dimensional and three-dimensional spaces, the lines can be visible or invisible: simply marking the surface with my feet or the sounds of my breath as I journey through a place. In each example, the line is ‘drawn’ through time travelling across a space, whether it is paper, earth, or concrete – all resulting from the ‘act of doing’. I am attempting to express a position of presence and absence: I am present, but not physically there.

Throughout September as the C4RD online resident, I am working on three new projects under the general title Marking Time, and each day I will be making new drawings exploring process, movement and the line in time. 

UNSEEN TIME: 30MINUTES30DAYS (one-minute), charcoal on 2000 x 2500 mm white wall.

With my eyes closed, I move back and forth along my studio wall marking the surface with charcoal. Each day I draw for one minute on the same wall, repeating the process over the 30 days of the residency. The lines entwine and fold into a giant web that measures my temporal presence. The drawing will be erased at the end of the residency, only existing in the online documentation. 

SEPTEMBER: 30HOURS30DAYS, graphite on paper, 1520 x 1060 mm.

This daily one-hour timed ‘line’ drawing grows incrementally as the month progresses. Standing close to a large sheet of paper taped to the wall, and by starting with one original hand-drawn line and obsessively repeating it, differences and variations emerge, but always referring back to the line above. The length of the line is 30 inches (76 cm), which is also the length of my arm from shoulder to fingertips. In total contrast to the one-minute drawings (Unseen Time), each line takes one minute or more to complete and after one hour only about 4 cm depth is achieved. The pressure required on the pencil to keep my hand following the preceding line not only marks the paper but also cuts into the surface. The task is arduous and pauses are necessary throughout the process, but the intense concentration creates a hypnotic and contemplative temporal experience. 

LINE BETWEEN (walks), graphite on paper, 147 x 105 mm each x 30 drawings.

Each day I document a reflective journey while walking back and forth between my current home and my previous home in north London. Holding an HB pencil in my right hand against a small piece of paper in the other, drawings are made by the small seismic shifts of my hand, marking the movement of my body as I walk through the space. I am recording the duration and distance, experiencing time and space – triggering memory.  Without looking down at the paper during the walk, these drawings are also ‘unseen’ during the process of their making.

Online Residency Archive:

If you are having trouble accessing the slideshow, please ensure you have a fast connection,

have an up-to-date browser and have adjusted your security settings. 

We recommend:

  1. Mac OS X

  2.     Safari 1.2 or later

  3.     Firefox 1.0.4 or later

  4. Windows

  5.     Firefox 1.0 or later

  6.     Internet Explorer 6 or later

Jane Grisewood: Marking Time Drawing