I've included 'two' stage drawings in this posting.
Here is a good example of one of the characteristics I am seeking in this current approach, i.e. 'ambiguity'.
The first of the five contributions to this composition is the knee, leg and two feet. The second places the head on the knee. Standing back from my easel I then saw that the knee and leg could be interpreted as the shoulder and arm. This was not designed or intended in any way. It just happened to suggest this interpretation. And this gave me great pleasure.
Below, the third contribution is selected and drawn in.
I felt at the time that an interesting relationship between the two heads might result, and that a narrative of two figures inter-twinned might prove provocative.
In the end the impact of the third contribution was reduced with the addition of the hands, followed by the fifth contribution to the lower right of the composition
A number of other ambiguities appear but the one that has just struck me, as I write these notes some days later, is that the hands, although they are how they appeared together in the fourth pose, could be seen to belong to two different people, i.e. the upper right hand to the guy on the top left, and the other hand to the guy whose upper body we do not see.
I am beginning to enjoy these gymnastic ambiguities.
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