Ikesha Avo

Ikesha Avo photo by Anna-Rose McChesney

Tell us about your practice and the part that drawing plays...

Currently my practice is about the act of observation and what happens when others are engaged in this process, lineage and familial relationships. Drawing gives me the opportunity to study at different paces and see the effect of materials on the outcomes I produce. I delve in and out of imagination and referencing the natural moving energy of life (it’s never still life), and using materials as drivers.

What were you doing before The Drawing Year and what drew you to apply?

I’ve had quite a meandering journey that includes textiles printing, product design, and a lot more. The shortened version though is that I left a full-time job in 2022 to focus on realigning with my passion of art. I picked up a part-time retail job to support myself financially and afford me the mental space to figure out my next best step. After 8 years of working, I knew I wanted to have time to be in a study bubble again. I became more serious about pursuing my ambition as an artist and particularly doing so within a community.

The ethos of the Royal Drawing School seemed to support this. The Drawing Year offered a consistent and authentic teaching programme and a thoughtful opportunity to students to learn on a scholarship.

Which courses have most impacted your practice?

I probably would start with etching. At times, it felt like I was failing -- especially during second term -- but in hindsight, I would say I met junctions to advance my practice. It forced me to investigate new directions and made me aware of the dialogue with my work and the work of other artists.

Graphic Narratives was extremely stimulating, dynamic and inclusive. It was fundamental for supporting my understanding of the value of my ideas.

Materials of Drawing gave me recipes that I now use in my work and the curiosity to create more. It reminded me of how much tactility, materials and processes are important to me.

Ewan Clayton’s Laban classes in the core day sessions were great at breaking my arbitrary approaches to drawing and finding new visual languages.

Tell us about the sense of community on the course...

There is genuinely a diverse mix of people from different walks of life within the school. This is enhanced by the Public Course students but also within The Drawing Year itself. There is a very warm atmosphere within the school, and it seems that a lot of thought goes into cultivating this. I really felt safe within the school.

Which tutors have you most enjoyed working with and why?

“...being an artist is like being gay or dyslexic or something, it’s who you are” -- Charlotte Mann

This was Charlotte’s incredibly affirming response to me during my first tutorial with her. She had asked me what I was hoping for after The Drawing Year and I remember I kind of shrugged, “I guess it's to become a professional artist”. Her response above echoed a sentiment I often heard from other tutors’ feedback (particularly Ishbel Myerscough). I interpreted this to be: you have already arrived at where you think you are trying to go, there is eternal value to what you do as an artist, and that this is very separate from commercial success.

I selected the Drawing from Film course specifically due to finding core days with Charlotte to be very useful, so I wanted to continue engaging with her teaching. I found that the tasks she gave in classes always made me use a different part of my mind. At times engaging in tasks felt foreign, surprising, sometimes frustrating, and (positively) ego stripping. This helped me to develop my own challenges within my studio practice.

What are the most important things that you've learned during the year?

Be child-like; play.

What has surprised you about The Drawing Year?

How safe I felt in the school and how settled I felt in the community of colleagues on The Drawing Year.

How has your approach to drawing changed since the start of the course?

I now see drawing as an ongoing moving part of my practice that I use as a tool to create finished pieces and an exercise to stretch my imagination. I previously saw it of a lesser status to painting - particularly with oils.

What opportunities have arisen due to The Drawing Year?

It's early conversations at this stage, but the three exhibitions, in particular gave me resources to support professional relationships with partners across various projects.

What does it mean to you that the course has no fees and a free studio space?

SO GENEROUS. It's great to walk away from studying with no debt, especially for such a rich course that I have gained so much from, including a trip to Italy. The studio space was great as it was 24-hour access 7 days a week - it was brilliant. I freely used the space not only to work away from home or school, but also to hold meetings with those interested in my work. It's a helpful resource.

What is it like to study and live in London?

I was born and raised in London and still live here now. The outdoor courses helped me to expand my view of London and look at the environment with fresh eyes.

Ikesha Avo photo by Anna-Rose McChesney

What advice would you give to someone considering applying for the course?

Apply and don’t think it's the be all or end all of you if you do or don’t get in. You are an artist. This course has the potential to grow you, but it's just one way -- not the only way. It is an incredibly generous course that has different phases. It can be stretching to your practice and emotionally, as it is very intensive. It will all be valuable in the end if you keep showing up, stepping up to challenges, engaging with the course and taking healthy breaks when needed.

I am grateful for how the course has allowed me to gain a great deal of confidence in my outlook as an artist.

Find out more about The Drawing Year