Still Life: day three

If you are reading this after Christmas you may have already seen a later posting in which I included some explanatory notes. In the meantime,  this is the final drawing of the 3 day session at Pegasus Art set up by Paul Fowler (see next two posts for days one and two).
All 12 participants arrived to discover their new location for this third day, and set about selecting what new artefacts might be introduced into their developing narrative.
This is a big drawing: 92cm x 113cm, and mine is completely executed using my two-handed technique (except for one or two lines which have been used to re-emphasise the spout, kneck and lid of the initial elegant copper vessel). I feel I am naturally now a 'two-handed artist'.
On this 3rd day I had to depart at 12.00 mid-day, so in total I devoted about 14 hours to this drawing, but I find that the intensity of my two-handed approach is quite exhausting and much time is required to recover, during which thought is given to selection of the next contribution to the composition/narrative.
So, I will need time to reflect on these three days, after which I will post my thoughts/analysis.

Still Life: day two

Continued with selection of artefacts viewed from my new location. The theme changed a little and a number of rules began to emerge to direct the drawing. There could be a major change tomorrow.

Still Life: day one

This is the first of a 3 day still-life session at Pegasus Art with tutor Paul Fowler. The photograph shows the pile of artefacts from my position on day one. Tomorrow Paul will relocate us and then on day three we will be repositioned again.
Where to start? And then what next to include?
Inuendo played an important selection motivaton, I.e. a link to 'the female', as in drawing the female nude in life-drawing classes. Also I was keen to include and to develop certain approaches which have pre-occupied me in recent life-drawing, I.e. a figure within a figure; complexity; surrealism.

That's enough explanation for now. So here is what happened (it should be possible to find each object in the photograph, accepting that I have introduced a degree of personal interpretation in the drawing of them).

Drawing Sue on Dec 3, 2013

Drawing Michelle and Sue on Dec 3, 2013

Drawing Robin and Paul: Nov 28th 2013

Quite an emotional day, at least right at the start.

I had not experienced anything quite like it.

Robin, a ceramicist and former dancer, and Paul, a gardener, both professional life-models, had intertwinned themselves into a beautiful pose. 

Where to start? All earlier thoughts about the morning went out of the window when presented with the symphany of their two bodies.

Taking a pencil in each hand I seemed to be quided by an inner force. I have previously talked about the concept of 'drawing a feeling', but this is probably the first time it has truly happened.

When time was called at the end of thirty minutes it took me a few moments to withdraw from the meditative state I had entered.

I don't think I reached the same depth of experience or produced the same type of drawing during the rest of the rest of the morning. But I need to reflect on this before I reach a conclusion. 

Sue on November 26th: Part Two

Two ten minute poses. But only half of each, joined together. In my two-handed 'linear' technique. Then the third pose, in my two-handed 'squiggle' technique. For this I positioned myself very close to the model, looking down at her, and I used the outline of the first two drawings as the boundary or parameters for the third drawing.