Frequently at 'extreme poses' with Paul Fowler in Stroud I sit and look up at the model above me in the ropes. This is Robin, each pose is for 30 minutes. I try very hard to convey that feeling of 'looking up'. I am drawing with a fine-liner pen in both hands and exploring and searching for the essence of that which I am looking at. Yet, it is in the act of drawing that we begin to see. Drawing takes us beyond what we are looking at. Drawing helps us to see.
Compositionally these two drawings work well. I do not consciously think about compositional issues. I now seem to have an inbuilt confidence that what I draw will fit on the paper (years ago bodies seem to shoot off the edges of the paper, uncontrollably).
However, a significant aspect here is the nature and character of the mark-making. Its squiggly, searching and explorative characteristics are in stark contrast to my more smoother, linear and perhaps minimalist mark-making.
I believe there to be something special about this next drawing below. There is quite a lot going on. It is compiled from a number of parts of two poses. It is of Robin sitting on a plinth (her left buttock eases itself over the edge) but her upper body is supported on the ropes suspended from the ceiling. Clearly, she sits on a plinth. Also her fingers gain support from the corner of a plinth. But she is also, with her arm raised up, holding on to a rope above. This arm is an extension of her stretched torso allowing her breasts to be included in the composition. I like the suggestion of her rib cage and her spine.
This not a 'designed' drawing. It has come about by me focussing on parts of a pose which attracts, then drawing that part, then moving on to the next attraction, then drawing that in some kind of relationship with the former. And so it goes on....part conscious......but principally within the depths of the sub-conscious and feeling and emotion.