I have talked in the past about the special relationship which can be built over time between an artist and a model, and that the depth of the ensuing dialogue can result in the artist moving from drawing the model as object to the drawing becoming an expression of a feeling that the artist experiences when presented with a pose.
This feeling can be in response to the overall form of the pose as a whole, it can be in response to a particular part of the anatomy which stands out from the pose as a whole, or it can (and frequently is in my case) be initiated by sensing that an opportunity is being presented by the pose to further explore an issue which I have previously grappled with.
Last Thursday, Sept 10th, there was no conscious decision to focus on hands and feet, and it was something of a surprise when this morning I layed out my five drawings (this and my previous posting) to find the common subject. So what was the reason for this focus? What caused it?
Was it that the hands and feet came right out to me from the pose, just about one metre away? Was it that I now feel I am able to draw hands and feet, whereas to start with I was hopeless, but feel that I can go further with exploring them? Was it that I acknowledge they can be a subject in their own right having studied the drawings of Durer and Michelangelo, to name just two masters of anatomy?
But these three drawings are not only about hands and feet. In making these drawings I am addressing many of my currant preoccupations: 'exaggeration and foreshortening', 'the two-handed mark-making process', 'line as tone', and 'the product holding a record of how it is made'.
I love life-drawing. I have become immersed in it.
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