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My research focuses on exploring relationships between sound and drawing. Some of these relationships are more physical, immediate and felt, which others more conceptual, reflective and considered. Drawing sound is an act of performance.

My practice explores the process of drawing – particularly the tension between failure and resolution and the balance between control and surrender.

I ask: “How does sound perform in drawing? How can I draw words? What is it to draw from observing the world around me, whether through sight or sound? What is it to draw from memory? How do I draw the imagination?
While I know that training allows us to create more space, freedom and precision and that imprecision, failure and disruptions create new pathways, I wonder how much we can really escape the confines of our prescribed patterns – whether from our brain synapses or muscle memory. Spontaneous, intuitive gestures seem to involve a flow of pre-learnt embodied patterns.

So, I ask, to what extent are we governed by our own physicality and the influence of our conscious and subconscious perceptions. Control will only take me so far and produce a certain quality of mark-making. When I consciously try to control things, it seems impossible to behave intuitively. Perhaps control, like time itself, as multiple forms, of which some are real and others merely an illusion.

Although my focus is on drawing processes my final products include paintings, drawings, sonic works, videos, performances, written works and sculptures.


My works have been presented at international institutions such as Tate Tanks and Tate Britain (London) in the exhibitions Tweet Me Up (2011) and Label (2012), in the group show Alive In the Universe (2019) for the 58th Venice Biennale and have been shown at NOoSPHERE Arts (New York), Bill Young's Dance Studio (New York), The Last Frontier (New York), and The Aldeburgh Beach Lookout (UK). 

As well as performing in my own productions, I recently appeared in He Said, I Thought (2019) by Carol Szymanski at Signs and Symbols Gallery (New York) and Triple Moon Goddess (2019) by Jana Astanov at The Cell Theatre (New York) and at Spherical Symmetry ARTI3160 (Venice, Italy).

In 2018, I formed the ensemble Assembly, which includes multi-disciplinary artists who focus primarily on concepts of improvisation. Communication between modes of perception is the main focus. Members have included the dancers Mariana Alviarez and Laura Colomban, actor Siw Laurent and singer/cellist Lenna Pierce.  We have performed at institutions including The Mothership (New York) Plaxall Gallery (New York), Itinerant Performing Arts Festival (New York) and ARTI3160 (Venice).

Between 2009 and 2012 I was a member of the ensemble Fig. with the Norwegian based composer/performer Alwynne Pritchard and sound designer Thorolf Thuestad with whom I performed at Landmark, USF, and BEK (Bergan, Norway), PointB Worklodge (New York) and live on Resonance FM (London).

I currently write for Creatrix Magazine, Hypocrite Reader and Art511 Magazine and my essay The Aesthetics of Failure is due to be published by Bloomsbury in Andy Hamilton's book The Aesthetics of Imperfection, in September 2020.

I was named one of New York’s “Top Ten Artists Working Today” in an article by Art511 magazine in January 2019.



I studied Fine Art at Chelsea College of Art, London and Cambridge College of Art, prior to completing a research-based MFA at Sir John Cass School of Art, London.

I practice various performance techniques including the Meisner Acting technique and Contact Improvisation. I use these methods to explore qualities of mark-making: gestural, automatic, accidental and incidental marks in contrast to contemplative periods of judgement, editing, and contextualisation.




Newcastle Jazz Festival: Philosophy of Improvisation Workshop, 2018













Studio View, Dock Studios, New York, photo: Isaac Rosenthall, 2016



Studio View, Dock Studios, New York, 2016







All content © Claire Zakiewicz