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Artist / Curator Contemporary + Expanded Drawing Co-Founder - DRAW Space Gallery Founder - DRAWSTORE belindayee.com
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#contemporarydrawing#australianartist#drawing#charcoaldrawing#artprize#expandeddrawing#scratchboard#charcoal#concrete#timeinart
Recent posts
New work -
Charcoal Profile 1 (2025), scratchboard, charcoal, cold wax varnish, 28 x 35.5cm.
Just keep swimming Dory!
#drawing #australianartist #scratchboard #charcoaldrawing #charcoal #contemporarydrawing
14 Nov 2025
I said to one of my supervisors, after three years of making ephemeral works during my masters, that I was exhausted. The constant trajectory of making and then the sense of loss in unmaking. So jokingly, I proposed making work in concrete. To my surprise, here I am three years later ….
Present continuous 1
Scratchboard, concrete, aluminium
28x20x4cm
Different media but very much the same, always drawing and always approaching time as a material component of the work.
#contemporarydrawing #concrete #timeinart
10 Oct 2026
Excited to have a text in Art+Australia, and to have the opportunity to revisit a sound-drawing performance I developed with percussionist Saskia Shearer @saskia.creative
The research project SOUND AS FORM / Percussive Drawing (2023) was developed through a four-day workshop and live sound-drawing performance. The research examined the shared characteristics—repetition, duration, speed, transparency, tone, negative space, direction, erasure and contrast—between the two modalities; sound and drawing. At its centre was a desire to understand the ways sound can be used as a medium for drawing.
The research which revealed the dynamic interplay between the mindset of drawing and the improvisational logics of sound, was subsequently presented at The Material Image conference at the National Art School in 2024.
This new text focuses on the shared kinaesthetic logic between the modalities; sound and drawing. To read more see -
Gesture Towards Haptic Attunement in Art+Australia.
https://artandaustralia.com/A_A/p438/gesture-towards-haptic-attunement
@artandaustralia @chelseajlehmann @jeremy.w.eaton 🙏🙏
#artwriting #sounddrawing #expandeddrawing #australianartist
21 Aug 2026
Last week to see my show -
The weight of her
Closes Saturday 4 October 2025
@firstdraft_
The works in this show hold the tension between statistical abstraction and the fullness of lived experience; between what is recorded and what is refused.
This work 64kg is made of blank computer punch cards. It replicates the dimensions and outline of a global average woman – standardised, abstracted, measured. The cards are a metaphor for data abstraction and subsequent loss of whole cohorts of women’s stories.
#digitalgenocide #data #machinelearning #ai #datastories #genderbias #herstory #australianartist #installationart
23 Sep 2025
Concrete, Shroud, Text (2025)
It seems even more critical, as Australia seeks to close down discussion, that art continues to draw attention to those topics which should NEVER be hidden. Originally a response to the genocide in Gaza, this work asks for safety, peace and basic human rights for everyone, irrespective of faith, politics, location or nationality. A kind of secular prayer, it extends care and compassion to those impacted by the Bondi Terror attack.
Thank you to the 70+ people from around the globe, who volunteered to write the Universal Declaration of Human Rights in Engliish, French, Chinese and Korean, spending that quiet time as a shared moment of compassion and generosity. Your texts were printed on this shroud. I'll list each person in the comments.
Congratulations to the winners of the Wyndham Art Prize 2026:
Gail Harradine for ‘Djurite rocks, climbing and Jadawadjali.’
yulawil
Safa El Samad for 'Textiles in Gaza.’
@safaelsamad
Penelope Davis for ‘Afterimage: pear/grapes.’
@penelopedavis1
FOOT for ‘Assigned Liminal At Birth.’
#activistart #udhr #gaza #socialpractice
01 Feb 2026
That's very exciting. Thank you OMNIA art prize, lovely to have two works selected for the prize. @omniaartprize
Between line and memory (charcoal profile 2)
Charcoal and cold wax on scratchboard
35.5H x 28W cm
Between line and memory (charcoal profile 3)
Charcoal and cold wax on scratchboard
35.5H x 28W cm
These drawings are made using profile lines sourced from rock faces around Sydney Harbour. I like the slow reveal of these works, the way it takes time to distinguish the drawing from the black ground.
#artprize #contemporarydrawing #charcoaldrawing
29 Mar 2026
.
thoughts on lines …
My first degree was Industrial Design and in first year we learned how to draw a line.
Put pen to paper, pause, draw the line quickly and smoothly, pause, lift pen. So, pause - draw - pause.
This process sought to remove awkwardness, hesitation, inaccuracy and wobbles from the line, allowing us to make clear, clean, repeatable lines. Subsequently, the line became more dependable and machine like. This has been on my mind lately.
Since studying art, the lines have sought to be something else completely.
Right now, each line has the breath in it. The weight and speed are imbued with the body. So, within each line and across multiple lines there’s a rhythm quietly expressed. I now realise these profile drawings are as much about that quiet rhythm as the obvious formal repetition. They are made of breath.
Created while on residency at Primrose Park Artist Studios @artsandculturenthsyd
#contemporarydrawing #australianartist #drawing #concreteart
01 Jan 1970
December drawing 1 (2024) graphite, charcoal, wax varnish, watercolour paper on alupanel, charred oak frame, 56.5 x 37.5cm
Over the Christmas break I made some drawings, there are two in this series. This is the first time I've made a charred timber (yakisugi) frame - it was harder than I'd expected, but gives a beautiful finish.
Super exciting to have this work shown in the OMNIA Prize and sold to a lovely collector.
#yakisugi #contemporarydrawing #graphitedrawing #charcoaldrawing #dailydrawing #australianartist #griddrawing #patterndrawing #artprize
01 Jan 1970
Part 2 of a @talk.drawing interview with Belinda Yee @belindayee, an artist from Sydney, Australia.
What medium/s do you choose to draw with and why?
I draw across many media. Poetry, video, performance, installation—all drawings, ways of holding presence through the trace of lines. I use sound as a drawing medium, exploring equivalences like tone, repetition, contrast, direction, and transparency. I employ more traditional drawing techniques with materials like graphite, sandstone and silverpoint. Graphite speaks to geological scales of time and yet it remains mutable, so it speaks to the present. Sandstone is important because it has been witness to Australia's fraught colonial history. I have also been drawing with light and shadow by embossing, debossing, folding, and deforming paper. I want to move ‘toward less,’ and these light/shadow pieces are a way of distilling something essential from the barest means.
Any advice for someone wanting to learn/start drawing or for drawing artists at the start of their career?
Learning to draw is about learning to see, so take your time looking. Practice is the only way to get better so enjoy the process.
Is there anything else you would like to say, share or promote?
I approach curation as a form of drawing research, recently presenting the International Performance Drawing Series at DRAW Space. I projected one performance a month through the gallery’s large glass façade on a busy Sydney thoroughfare. I am co-founder of DRAW Space.
Thank you for reading and thank you to Belinda for sharing her experiences and drawing practice.
@talk.drawing is an Instagram account dedicated to sharing the work and practice of drawing artists.
1 Observed form (1)
2 Observed form (2)
3 Belinda Yee The Last Before credit J.Maurer Belinda Yee
4 Breathe
5 Sandstone 1
6 Sandstone 4
7 Saskia Shearer Sound As Form VideoStill
#talkdrawing #drawing #drawingartist #contemporarydrawing #BelindaYee
18 Nov 2025
2026 Primrose Park resident artist @belindayee is a finalist in the 2026 @omniaartprize with two works "Between line and memory (charcoal profile 2)" and "Between line and memory (charcoal profile 3)".
Says Belinda, "These drawings are made using profile lines sourced from rock faces and escarpments around Sydney Harbour and speak to the millennia of their forming. I like the slow reveal of these works, the way it takes time to distinguish the drawing from the black ground."
If you're in Naarm/Melbourne, check out the exhibition, which runs 22-24 May 2026.
05 May 2026
Super pleased to have two works selected for the St Columba's Art Prize 2026 and that one is a poetry work - @columbasartprize
The last before (a thousand small ruptures). 2025. Pin holes in 325gsm watercolour paper, 35 x 26cm.
Between memory and line (charcoal profile 1) 2026. Scratchboard, charcoal, cold wax, 28 x 35.5cm.
I wrote the poem for a solo show @firstdraft_ , where it was punched into the wall using a nail and hammer. This version is more delicate, consisting of pin holes in watercolour paper. I love this paper because it's so luminous and feels soft and smooth like skin.
All roads point to drawing for me, and both these works explore aspects of drawing in my practice.
#artprize #drawingprize #expandeddrawing
19 Apr 2026
New work this week - I love it. When I first saw it, it had an immediate effect on my body. And still now, three days later, I still like it. In 3 weeks, who knows.
It led me to think up a recipe for ‘good art,’ of the Biennale kind. Probably because Sydney Biennale is on.
- research/bkgnd in something topical/political/cultural —> makes story
- materials with meaning/history
- novel/professional presentation
- sufficient surface complexity
- sufficient ambiguity/slippage
- avoid decoration (unless that’s the point)
- network that will get work seen
This new work doesn’t have most of these traits. It’s thinner, less story, less topical, less presentation, but somehow it has a sense, to me, of something essential.
Let me know if you’d change my cheeky recipe.
01 Apr 2026
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