Occasionally I come away from a life-drawing session with a real sense of fulfilment. My experiments (and my life-drawing journey is one of experimentation) now and again brings about a synthesis of past breakthroughs and achievements. One can reflect on these moments and then move forward. But the next step will inevitably be into the unknown. This is my joy and is echoed in my philosophy "paths are made by walking". Today I believe I experienced such a synthesis. And it was significantly facilitated by two amazing models, Robin and Angela, who worked with each other, and with our tutor Paul Fowler, to create 4 half-hour challenging poses, suspended in the ropes in the studio at Pegasus Art in Stroud.
To some extent one's position in the studio in relation to the pose influences one's chances of producing an interesting drawing/composition. This is particularly an issue when two models juxtapose.
In this first drawing the two models appear to have no particular dynamic between them: one is leaning back the other forward, and one is behind the other. They relate by an arm resting on the others knee. Three feet form an arc from which the bodies move into the composition. There is no focus or emphasis introduced into the drawing by the drawing technique itself. It has a consistency of line and in the way marks are made throughout the drawing.
But in this first drawing of the session I am familiarising myself with the issues of the day: two bodies with different characteristics; two bodies juxtaposed; two personalities yet one composition. The pencil moves across the paper to outline the forms, explore the interactions, link the poetry, and clarify the shapes of arms and legs and torsoes. In the 30 minutes the pencil hardly leaves the paper. Firstly an HB, then I emphasise with a 4B.
But what of the interaction and the dialogue between the two models?
The second pose brought the two models closer together. But only to have their backs resting against each other. My drawing is in charcoal on clear gesso treated cartridge paper. Each layer of charcoal is brushed back. Finally coloured pastel is suggestive of the electricity which I anticipate, and hope, is beginning to emerge between the two models!
In this third pose, from my position in the studio, I began to sense a real symbiosis being created between the two models [I know from conversations with the models afterwards that they took some time to get used to each other and to realise what might be possible by posing together]. But it is probable that a change, a transformation, was also taking place within me, i.e. within the perceptual framework I was developing in order to comprehend what was before me. So this third drawing begins to acknowledge a symphony of forms
consistent throughout the pose.
It could be my luck that I was presented with this particular 4th composition from where I was located in the studio. However, the artist will be selective in what is abstracted, selective in how it is expressed, and selective in the emphasis and in the appropriate drawing technique.
For me, so much came together in this fourth drawing.
I am really pleased with this outcome:
- the journey line up through the composition is given emphasis by the use of lost or soft edges to the outer sides of the pose
- the symbiotic relationship of the two models: they inter-twine and suggest perhaps a supportive or protective attitude to each other
- the contrasting body characteristics are clear
- the colour/tone relationship seems to work
- the advancing foot provides scale and perspective, it helped in the construction of the drawing, and for me introduces a pleasing element of idiosyncrasy
- the result is not purely representational and for me is appealing in its abstract and expressionistic mode.
This was a good session.
This was a rewarding session (quite a contrast to that reported in my previous posting).
