These are the three drawings which I refer to in my previous posting, within which I detect something different is beginning to firm up. Its not completely new and has happened on a number of occasions previously. But I am now much more aware that I can engage with this emerging 'phenomena' on a consistent basis. This does not imply that I will be simply repeating the approach over and over again, but it does mean that I have discovered something particular which I feel is very special to me and has an inherent scope for experiment and exploration.
I recently came across the term 'overlay', and said "Yes" this describes what I am doing on the paper. I am drawing one pose, or part of a pose, on top of another, and repeating this a number of times. But this does not fully describe my process. So if I adopt this term of 'overlay', and then place alongside it the terms I have previously employed, i.e. 'superimposition', 'transparency', my 'anagram' process, synthesising more than one pose, morphism (and there are probably some others if I care to look back) then I am beginning to describe my current genre. However, I firmly believe that fundamental to my 'process' is my engagement with a 'spatial' aspect which can be identified in a number ways:
a) my kinetic stance as I respond standing at my easel with a pencil in each hand moving back and forth,
b) my immersion in the space between myself and the model and my sensitivity to the dialogue between artist and muse,
c) that as I explore that which I am looking at and that what I am feeling finds expression through my mark-making on the paper.
d) that on the paper there is emerging space within and space beyond the anatomical realisations.
This first drawing includes parts of four 5 minute poses by Penny at the start of a two hour life-drawing session on a Monday evening run by Claudia Peake in Monmouth.
This second drawing is of parts of four 30 minute poses by Paul at Extreme Poses run by Paul Fowler on a Thursday at Pegasus Art in Stroud. I was much more selective and considered, than is usual, in the parts of each pose I included and in my mark-making. The first part to be drawn is the knee and foot diagonally located from top right to lower left with the right foot curled behind it. The two arm and hand drawings were next added. Finally, I recall it took quite a bold move on my part to impose the final drawing (I just went for it) of the left knee, shin and foot, from top left to bottom right. At the top of the paper the receding thigh of the last drawing conveniently linked up with the shoulder lines of the two arm drawings to complete an overall holistic, and morphed, form.
Finally I'm back with Penny but this time on a Tuesday at Angela Palmer's class at Brockweir in the Wye Valley. Here I was able to move my easel across the studio and include a view from her back after having drawn her right shoulder,breast and hands, and also her legs and feet. I moved back and forth two or three times to complete the details and final mark-making.
This last drawing places my process within 'cubism' in that I am engaging with the whole from different view points at the same time.
One final observation: It does demand quite an effort to keep with the one sheet of paper, especially when the first drawing seems to work and anything additional might detract. But then, that does not matter in the least. I have always maintained that it is the process which is important and not the end product. However, the end product does have a significance, in that it appears the end product is always greater than the sum of its parts, e.g. a narrative emerges, ambiguity is inherent, the beholder has to take a second, third or even fourth look, etc.