Journal Articles

Harty, D and Sawdon, P (2016) Interweaving in hybrid methodologies, Journal of Visual Arts Practice, ISSN: 1470-2029. DOI: 10.1080/14702029.2016.1141559.

Harty, DJ (2013) hyperdrawing, Visual Inquiry: Learning and Teaching Art, 2(1), pp.99-99, ISSN: 2045-5879.

Harty, D (2012) drawing//phenomenology//drawing: an exploration of the phenomenological potential of repetitive processes, TRACEY drawing and visualisation research, Process(Process), ISSN: 1742-3570.

Harty, D and Sawdon, P (2012) The taste of tree?.

Conferences

Harty, D (2024) Drawing as Phenomenology. In Drawing Articulations, Leeds Beckett University.

Harty, D (2018) The Science of Seeing Skyscapes – A photographic documentary of watching. In EWASS 2018: European Week of Astronomy and Space Science, Arena & Convention Centre (ACC), Liverpool, United Kingdom.

Harty, D (2016) Temporal Trace: a phenomenological enquiry. In AAH2016, Edinburgh College of Art, University of Edinburgh.

harty, D and Sawdon, P (2015) Collaborative Drawing through Dialogue. In Drawing Conversations, Coventry University.

Harty, DJ and Sawdon, PJ (2015) interweaving in hybrid methodologies. In Correlating Theory and Practice in Fine Art Research, London Metropolitan University.

Harty, D (2012) drawing through touch: a phenomenological approach. In Drawing Out, University of the Arts London.

Harty, DJ (2011) perceiving//believing: black as paradox. In Kaleidoscope: New Perspectives on the Humanities, Warwick University.

Artefacts

Harty, DJ, O'Donnell, L, Sawdon, PJ (2014) mooquacious wutterances, Nanyang Academy of Fine Arts Gallery, January 2014.

Chapters

Harty, D (2020) Wandering through drawing's trace. In Reed, JJHGS (ed) Body, Space, and Place in Collective and Collaborative Drawing: Drawing Conversations II, Cambridge Scholars Publishing, pp.217-229, ISBN: 9781527541962.

Harty, D, Brown, D, Asturias, AR, Simcox, K, Johnson, P (2019) The science of seeing skyscapes – A photographic documentary of watching. In Brown, LHD (ed) Visualising Skyscapes: Material Forms of Cultural Engagement with the Heavens, Routledge, pp.226-246, ISBN: 9781138303614.

Harty, DJ and Sawdon, PJ (2017) THREE STATES [OF DIALOGUE]: YOU ME US. In Collective and Collaborative Drawing in Contemporary Practice: Drawing Conversations, Cambridge Scholars, pp.98-113, ISBN: 978-1-5275-0347-2.

Harty, D (2015) Trailing temporal trace. In Drawing Ambiguity: Beside the Lines of Contemporary Art, © I.B. Tauris,ISBN: 9781784530693.

Harty, D (2012) drawing//digital//data: a phenomenological approach to the experience of water. In Biologically-Inspired Computing for the Arts: Scientific Data through Graphics, Information Science Reference (© 2012 IGI Global), pp.337-355, ISBN: 9781466609433. DOI: 10.4018/9781466609426.

Exhibitions

Harty, D (2024) Darkness, Fronteer Gallery, pieces , 23-10-2024 to 02-11-2024.

Harty, DJ and Sawdon, P (2016) Performing Drawology, Bonington Gallery, 1 pieces (drawing), 15-01-2016 to 15-02-2016.

Harty, DJ (2014) drawology: one year on, Lanchester Gallery, 42 pieces , to .

Harty, DJ (2013) drawology, Bonington Gallery Nottingham, 39 pieces , to .

Harty, D, Herrera-Gonzalez, I, Ye, F Drawing experience exhibition promotion, pieces , to .

Harty, D, Colley, R, Ye, F Drawing in an Expanded Field - Academy of the Future, pieces , to .

Internet Publications

Sawdon, P and Harty, D (2011) hide and seek.

Thesis/Dissertation

Harty, D (2009) Drawing//experience : a process of translation.

Presentations

Harty, D (2024) UNESCO Mirror Identity Drawing Project.

Media

Harty, D, Leah, J, Adiguzel-Inanc, E, Dicke, N, Bao, Y (2026) DRN2026 Drawing as Storytelling: Braiding the Terrain.

Harty, D, Herrera-Gonzalez, I, de Nobriga, A, Kenniff, T-B, Lévasque, C, Hayton, RG (2026) DRN2026 Drawing as Storytelling: Polyphonic Lines.

Harty, D (2025) DRN2025 Drawing Negation Absence.

Harty, D (2025) DRN2025 Drawing Negation Political Space.

Harty, D (2025) DRN2025 Drawing Negation Emergence.

Other

Harty, D (2024) IMPR[IN]T, Exhibition catalogue contribution to Lucy O'Donnell's 'our little earth bound tales' at the Ballinglen Arts Foundation, Ireland..

Harty, D (2024) Darkness, The drawings were submitted as part of an exhibition looking at the theme of darkness at the Fronteer Gallery in Sheffield (23 October 2024 - 2 November 2024). Exploring qualities of luminous darkness has been an ongoing interest in Harty’s drawing research, which focuses on exploring the potential of drawing to record experience.Compressed charcoal and graphite on paper, 20x20cms.© The Artist, CC BY NC ND 4.0About the exhibition:Darkness saw over 30 UK artists respond to the theme of darkness in a variety of artistic disciplines and styles.

Harty, D (2015) Content, Drawn chapter contribution to 'Anchor'.

Harty, D (2014) Drawology: the drawn of the drawing? [foreword], Drawology: the drawn of the drawing? [foreword].

Tormey, CJ (2010) TRACEY Drawing and Visualisation Research: Drawing and Technology.

Sawdon, P and Harty, D (2010) disjointd dialog, disjointd dialog.

Harty, D and Sawdon, P (2007) grounded, This moving image piece is part of Harty and Sawdon's artist collaboration incorporating several drawing research projects including Triptych and Animation in Process..

Harty, D and Sawdon, P (2006) Hinged, Triptych is a collaborative research group originated by Kingston University, Loughborough University and Dublin Institute of Technology. Practice and theory will be explored to contribute to knowledge of the act of drawing. This includes investigation of diverse and contemporary aspects of the fine arts, design, built environment, pedagogy and theory on drawing. Our strategic intention is to improve the recognition, use and understanding of drawing pedagogy, whilst investigating the use and application of drawing in professional practice. Triptych is built upon the research interests and expertise of its members..

Harty, D and Sawdon, P (2006) Pivot, Triptych is a collaborative research group originated by Kingston University, Loughborough University and Dublin Institute of Technology. Practice and theory will be explored to contribute to knowledge of the act of drawing. This includes investigation of diverse and contemporary aspects of the fine arts, design, built environment, pedagogy and theory on drawing. Our strategic intention is to improve the recognition, use and understanding of drawing pedagogy, whilst investigating the use and application of drawing in professional practice. Triptych is built upon the research interests and expertise of its members..

Harty, D and Sawdon, P (2006) Exchange, Triptych is a collaborative research group originated by Kingston University, Loughborough University and Dublin Institute of Technology. Practice and theory will be explored to contribute to knowledge of the act of drawing. This includes investigation of diverse and contemporary aspects of the fine arts, design, built environment, pedagogy and theory on drawing. Our strategic intention is to improve the recognition, use and understanding of drawing pedagogy, whilst investigating the use and application of drawing in professional practice. Triptych is built upon the research interests and expertise of its members..

Harty, D, Sung, K, Bao, Y, Brennan, L, Nadeau, J (Accepted for publication) DRN2026 Drawing as Storytelling: Narrated Memories, Narrated Memories is the first in a series of online events in collaboration with the Storytelling Academy at Loughborough University, which explore the relationship between Drawing and Storytelling. Drawing begins where words cannot reach, and storytelling begins when images ask to be read. This first panel brings together artists and researchers exploring the theme of narrated memories.Lucy Brennan Shiel’s presentation will consider a story that began with a letter from her Irish mother sent to Brennan Shiel in the UK. The letter became a large drawing, which was explored through Bracha Ettinger’s matrixial theory, a theory of the feminine. The drawing was initiated by Brennan Shiel’s mother’s writing which subsequently inspired the drawing. The drawing can be encountered as a psychic ‘borderspace’ explored through partly scripted and partly improvised storytelling. It’s a re-encountering of Brennan Shiel’s mother. It includes a recent photographic process subsequently layered through the photocopier with drawing processes. That ‘uncopying’ process forms part of the story which aims to navigate the complex layers of re-engagement that were interrupted by colonial restructuring in Ireland and subsequently through Irish Catholicism, which became the vehicle of Irish nationalism. Meanwhile, Irish women fell prey to both and like Brennan Shiel, emigrated. According to Irish feminist writer Geraldine Meaney ‘a history of colonisation is a history of feminisation’, but where does that leave the identity of Irish women? Using James Joyce’s Ulysses as a literary and ancestral reference point and a site of feminist intervention in the character of Molly Bloom, the presentation will explore exile, loss, and blind spots in retraversing the site of ‘the mother’.Janice Nadeau’s paper will explore the relationship between drawing and storytelling through Mémoires de maisons, a practice-based research project in which writers and poets are invited to narrate memories of a former home. The research examines how drawing, understood as a polymorph process and an act of bricolage, intervenes in storytelling by collecting fragmented memories and filling gaps created by narrative omissions. The ongoing project is based on private interviews with writers and poets from Quebec. As their memories unfold, the researcher produces drawn notes in an immediate and urgent mode, comparable to figure drawing, where one gathers as much information as possible before the subject changes pose. This phase results in spontaneous drawings composed of accumulations of words, sketches, crossings-out, and collages, reflecting the intensity of listening to an embodied voice while drawing in real time. Narrated memories emerge in fragments rather than as complete or spatially organized accounts. Between these fragments lie absences that drawing can activate—not to recover historical truth, but to intervene in the narrative itself. Adopting the position of the bricoleur (Lévi-Strauss), who works with what is available, the drawer selects elements, triggers free association (Taylor), and invents story fragments to reconstruct a remembered house. The narrator’s style directly shapes this process, requiring constant adaptation as new spatial elements emerge. By prompting questions and clarifications during the interview, drawing operates as a reflexive tool (Schön) that reshapes the narrative, challenges the traditional subordination of drawing to text, and transforms storytelling through a new mode of expression.Yige Bao’s presentation will explore how drawing, when approached as a thinking and sensing process, can dissolve the boundaries between image and text, forming a hybrid language rooted in bodily experience. Informed by autoethnographic methodology and posthumanism theory, Bao’s practice investigates how drawing functions not as representation, but as a trace: a residual movement of the body, memory, and affect.Building on theories of drawing as performative, time-based, and processual, this presentation approaches drawing as a form of embodied storytelling. Drawing is not simply a visual outcome but an active thinking process; it is a gesture in time, a trace of bodily movement, attention, and sensation. Rather than aiming for representation or resolution, drawing in this context allows for repetition, erasure, hesitation, and disruption, which better reflect the fragmented and layered nature of memory and identity formation. Within Bao’s autoethnographic practice, drawing does not illustrate written narratives but coexists with writing, forming an intermedial space in which verbal and visual elements shape one another. This visual–verbal interstice invites alternative forms of narration that are non-linear, fragmentary, and affective, enabling the articulation of experiences that resist discursive capture.Chair: Karen Sung.