Monday, 27 March 2017

The plinth plays a role (March 23rd at 'Extreme Poses')

Paul Fowler at Extreme Poses in Stroud sometimes introduces one, two or occasionaly three plinths (of varying heights) which the model can decide to use in conjunction with the harness of straps suspended from hooks in the ceiling. I rarely make reference to the straps, except where their inclusion helps explain a pose or is in fact a very integral part of the pose. Sometimes a model will simply sit, curled up, on a plinth and not use the straps. Sometimes both straps and plinth play a supporting role for the pose. This morning, in all drawings, and this was not a conscious decision, I reacted to the 'structural relationship' between foot and plinth. This phenomena was only really noticed when all drawings became displayed together alongside my easel position in the studio. Yes, I must have been aware within myself of this significant relationship at the time (I suppose its the architect in me sensing the importance of the structural support that the plinth gives to the body) but what fascinates me is that the relationships between the foot and plinth, and in one case the two hands and the plinth, varies so much. There is quite a contrast, for example between the pose when all the gravitational weight of the body is supported fully by the plinth, and the pose in which a foot lightly touches the plinth because most of the weight is received by the suspended straps and partly by the other foot.
All poses are held for 30 minutes, but for the fifth and final drawing the model was attempting a challenging pose which she had to abandon half way through and enter a new pose. I am unable to recall from my drawing what these two poses were, but I expect the essence of each one to be there.

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