There are so many words that belittle the drawing, its surprising that artists bother with them any more. They may be scribbles, jottings, doodles, sketches, scrawls but an increasing number of artists are presenting 'slight' drawings as a significant part of their art practice.

These 'champions of the jotter' select their imagery from the increasing variety of visual information that we are constantly bombarded with - whether it is a photograph of Kate Moss, a Californian surf-bum or a NASA spaceship - providing us with immediate and instantly recognisable images. Choosing either the quick sketch or laboured-over works, these drawings reflect the fragility of peoples' attempts to come to terms with the increasingly complex world around them. The uncertainty of this type of image making directly reflects the very real anxieties of modern living.
In general the works have a throw away feel to them with the suggestion that they are of limited significance - expressions of the insubstantial, the inane, the amateur. But the fact that the drawings in this context are slight is good. That slight is all that there can be when the masterpiece is dead - no longer tenable. The real value in the drawings is the sense of futility, boredom and obsession that they establish.

Works by Rita Ackerman (USA), Maura Biava (The Netherlands), Russell Crotty (USA), Tracey Emin (London), Rachel Evans (London), Ewan Gibb (London), Graham Gussin (London), Karen Kilimnik (USA), Maria Lindberg (Sweden), Jacqueline Mesmaeker (Belgium), Martin MacDonald (Glasgow)David Shrigley (Glasgow), Thomas Shütte (Germany), Thaddeus Strode (USA) and Hayley Tompkins (Glasgow).