My deconstructive, anagram, collage and cubist approach every so often is brought to a halt and interrupted by a pose which resists such violations. Above is a very quick spontaneous response to a pose of beauty. It demanded a degree of exaggeration by bringing the buttock, thigh and leg to the fore. And this, I did.
But I carried out this above drawing after I had completed the one below. I really am enjoying the complexity, overlap, and the demand on the beholder to understand what is happening. But when you look carefully at the drawing below you will be able to extract the basic pose speedily captured in the above drawing.
And now for something really special! I have written frequently about my so-called 'cubist' approach, or better referred to as my 'cubist philosophy'. Moving back and forth across the studio to include insights into the pose from different view points in order to gain a fuller understanding of how I see the human form and its anatomy. Challenging my perception and upsetting my pre-conceptions of the body.
One evening, in Monmouth, at Claudia Peake's life-drawing class, the model sat on a swivel chair and was moved through ninety degrees every five minutes. She came around and around and we were able to re-engage with each orientation a number of times. My cubist philosophy was given a support which was quite unanticipated. I love the outcome!
And now, in this posting, back to 'extreme poses' in Stroud with a drawing of one of Robin's classical poses. I must have drawn Robin in this pose in my charcoal on gesso days, in my expressive bold charcoal drawing days, in my pastel and conte on expensive paper days, so many times. A constant, over all, this time is her special and individual character and the way she presents herself. Look at the head resting on the arms supported by the straps, her extended torso leading down to the signature curling of the one foot around and behind the other leg.
And finally, back to the 'two scales' approach in which I superimpose two drawings from the one pose but at different scales. Below, the model is supporting herself with arms outstretched holding on to supports above her head, and I have then added a close up of the left arm and shoulder. Why am I doing this? I believe it is helping me to see beyond what I am looking at, by examining an issue from two or more points of view simultaneously. It also brings into play the 'spatial' aspect: it suggests perspective and depth. I constantly engage with depth within my compositions and space beyond my boundaries of my drawings, and beyond the parameters of the paper upon which I draw.