I have talked recently of the role of anagram in my life-drawing journey, I.e. reconstructing parts of a pose in a new spatial arrangement. This morning I selected the legs and then brought them closer together in the drawing. Also they are drawn at a slightly different scale. In using tonal mark-making they morphed together and became an organic whole.
I am reminded of a two-handed pencil drawing from a few years ago in which I deliberately fused the parts into an organic whole. This was quite a different approach. So I include this early drawing to help me reflect on this approach.
There is an immediate aspect which has arisen: more than one colleague this morning expressed a certain feeling of discomfort when viewing the leg drawing. This raises the issue of whether there is, or should be, a threshold of 'what is acceptable'. Could the model be upset by the distortion? They also suggested that they needed to 'look twice' at the drawing in order to work out what the pose might be. I have said before that this is a benefit of my de-constructive approach.......one can't walk by and accept/dismiss the work with a fleeting glance.
Whilst I was drawing the legs I became increasingly aware that beyond the legs was a most beautiful poetry of forms which I became really anxious to explore. So this I did. A new A1 sheet of 220gsm virgin white cartridge paper recorded this exploration. See next posting headed with a quote from Walt Whitman.
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