This was the first time that Robin and Rachel modelled together, although Robin has posed with others before.
Five 30 minute poses, and as the morning progressed they gradually explored the potential in the dialogue bewteen two bodies, until in the final pose Robin became the ivy climbing Rachel's oak tree.
A bit crowded.
I must put together an exhibition of my work in a space that allows each piece to make its own particular statement.
I will look into this!
The true life understands her role. She creatively explores the potential of the pose. When her apparatus is a matrix of ropes and straps hanging from the beams above and a pedestal plinth to give support from below, then the challenge is enormous. Robin excells in such situations.
We have had the plinth for a few weeks at Paul Fowler's 'extreme poses' at Pegasus Art in Stroud, and in my previous postings you will see my increasing attempts to include the energy of the plinth in my drawings. At first it was included almost incidently. But today, at last, I believe I have managed to include a feeling for how the feet engage support from the plinth.
So here are my five drawings, all two-handed pencil on A1 220gsm cartridge paper.
Each pose was held for about 30 minutes max but I stop drawing after about 20 minutes.
I'm beginning to engage the plinth in a meaningful way in my compositions.
A strange day.
Four drawings, all different, yet both I and Paul Fowler (our tutor ar 'extreme poses') felt I had set off on a new search.
Yet I am revisiting earlier 'ways of drawing' or perhaps more accurately put, 'ways of seeing'. And we agreed with each other that something new and different had started.
In myself, and in my everyday activities, I do feel different. A result of a miraculous escape, a week or so ago, from a tractor accident.
Can't waite to see what emerges the next time.
This is the second session in which Paul Fowler has introduced a plinth into the support system which the model can explore to create challenging poses.
Last time I felt I didn't acknowledge the role of the plinth in the composition of energies which the model uses, which have previously been delivered through the interaction of body and ropes. The plinth has a role to play in that part of the body, usually but not always the feet, is given support which allows the model to then lean out, away from the plinth, almost cantilevered into space.
