This posting follows on from my posting of November 11th in which I included my drawings of the model Robin at 'extreme poses' in Stroud. That was my first life-drawing session after my Africa trip, and I suggested something different was occurring. With Paul Fowler, my mentor, we hinted at something different, and attempted to describe/define it. But I believe unsuccessfully. So here are my drawings from the next two Thursday morning sessions at 'extreme poses', again Paul and I had conversations about them, and again he expressed interest in changes he was detecting. I am not sure what he is seeing and I am unsure what is happening, but I have a feeling that (dare I say) a fundamental move is on the way. In fact, and completely unrelated to my conversations with Paul, I was talking with Robin during our coffee break and she commented "There you are Bob, busily drawing away, as you always do with a pencil in each hand, and yet when I come to look at your work it always seems to be changing, subtle small changes but constant change". Let's waite and see if it is revolutionary or evolutionary change ........ I sense more of the later.
In the past I have regularly revealed my fascination with the tripartite relationship of 'the model...the drawing.....the artist'. I have talked before about the artist-model relationship and how both contribute to the success of the life-drawing session. However, I have just come across an exhibition catalogue 'Drawology' by Deborah Harty whose research is into 'Drawing is Phenomenology' see: www.drawing-research-network.org.uk. and here are two quotes which I feel may help me focus on what I feel is currently happening with my art.
"drawing has the ability to record both its own making and the movement of the thoughts and body of the drawer"
"(the process of) drawing unlocks the door between what is in the mind and what comes out on paper"
Whilst the emphasis here is on the artist-drawing relationship, which in the scientific process is being isolated so it can be studied, we should not forget the role of the model in the multi-directional interplay of the processes of interaction between the three contributors to the trilogy.