Drawing Sally this morning.

Following three enjoyable experiences of drawing Sally I introduced her to Paul Fowler who runs 'extreme poses' in Stroud. My anticipation that she would add an extra dimension of inspiration to an already successful programme of life-drawing was confirmed early on. The harness of straps suspended from the ceiling and a tall plinth privided the stage for Sally to create a series of beautiful poses. So a big temptation to try and capture the overall poetry of each pose with a straightforward composition with no de-construction. But that is not what I do these days. What I have attempted is this: I start by drawing the part of the pose which immediately attracts (for various reasons), this then sets up a process in which additions gradually begin to generate a narrative. By this time the 30 minutes is up. I like what happened today. I felt my drawing process was engaging with something beyond the model, it was being energised by my feelings. My feelings were building upon the privilege of me an artist entering a specific dialogue with another human being, a very special relationship which somehow found expression through my mark-making on paper. I say "somehow" because I can truthfully say the process is deep, it is for the most part sub or un-conscious, and the outcome or product requires a period of post-process observation or analysis to comprehend what has taken place. I do feel that not all models make this process possible.

Drawing Sue on September 26th

I am at the two hour Monday evening life-drawing with the model Sue. Three 5 minute standing poses followed by two approx 30 minute poses.
I am continuing with my two handed graphite pencil technique with added Derwent tinted charcoal either caressed with a tissue or blended in with my fingers. Also continuing with A1 220gsm cartridge paper from Seawhites of Brighton (who continue with the best price)

7 recent outcomes I feel good about........

because they are each an outcome of an unplanned approach. I now understand that I much more indulge in 'process art' than I do in attempting to produce a previously considered outcome. These days I usually begin to explore through drawing a part of the pose which immediately appeals to me, e.g. the twist of a foot resting on a plinth. Then the process seems to have a life, an energy and hence a direction of its own. I may be presented with a pose and start drawing it and suddenly decide how it would be if I juxtaposed the other side of the pose but viewed from the other side of the studio. There are a number of approaches which I seem to be developing but they are only identifiable when a period of reflection is entered into. So it is possible to place my drawings into categories and I believe I have indicated these various approaches and have attempted to give them descriptive labels in my past postings. But fulfillment comes with surprise. And I am frequently, more often than not, suprised by the drawing which presents itself to me. I will recall for you that the majority of the poses are for 30 minutes. In the 30 minutes I become deeply immersed within the process. Lost to the world. So here are seven recent surprises which each give me great pleasure when studying them, because they each represent one of a range of approaches to life-drawing which have grown from within my own, dare I say 'idiosyncratic' indulgences.

My other diary.........

I originally referred to my blog as 'a diary', and this is what it still is. I place all my life-drawings on it, adding notes around their particular context, which may be about how I was feeling, about technique, about artist/model relationship, about an aspect I have researched and hence an artist whose work may have helped me understand a bit more about what I am doing. But I also keep a hand written diary. This is an A5 drawing pad/book which neatly fits into my bag or a pocket. I may write some notes at any time: a thought over a pint, a name suggested in a paper, a quick drawing, etc. So here are a few recent pages. Some notes find their way into the blog.

No Comment: September 19th & 22nd.

Variations on previous themes but new possibilities emerging.

At 'extreme poses' on September 15th

A variety of approaches to Shelley sitting on the plinth, or suspended in the ropes, or a combination of both.

September 12th: pursuing two distinct themes

Following on from the warm-up poses (see previous posting) Sally presented us with two longer poses of about 30 minutes each.
In the first I was attracted to a sequence within the pose which I have explored many times: the head on the hand, the hand on the knee, the weight then transferred to the supported foot.
The second drawing is well within my 'anagram' theme. But having outlined the lower part of her body I turned my paper through 180 degrees and supperimposed the upper part of the pose. Frequent revolutions of the drawing took place as the drawing progressed. Often, a narrative emerges as parts of the pose are brought together in a new spatial relationship. Not quite sure how to interpret this one yet. Someone suggested it appears she is sucking her toe. I've tried looking at it, and considered presenting it, through all four orientations, but this is the one I feel happiest with.

September 12th: 5 minute warm-ups

Claudia Peake runs a friendly and stimulating two hour session on Monday evenings in Monmouth. Last evening we started with four 5 minute poses by Sally.
I really enjoy this time of day to engage with life-drawing as it can follow a full day working on something physical up in the fields, in the woods or amongst the vegetables, and I find I enter into the life-drawing process with a completely open mind and free to engage with my art.

The first drawing is on my usual A1 cartridge paper but the second is A2.

At 'Extreme Poses' on Sept 8th, 2016

Just arrived home after a fulfilling morning with five 30 minute poses by Natalie. This is my first session after my very recent analysis of the 3 day double-model event. So, somewhere within me are my findings from this analysis. But I followed no conscious approach and made no conscious links with my analysis. However, it is most probable that my findings did impact upon and influence what happened to day. So, lets see what happened.
Five quite different responses, and in each I simply was attracted to a particular aspect of the pose, which I then started to explore/place/examine/enquire with a graphite pencil in each hand on A1 sheets of white cartridge paper. Tonal work uses Derwent tinted charcoal, caressed with a tissue or spread and blended with my fingers.
(On the way home I called in to see Jackie, my optician, and to collect new spectacles. So, I hope I am welcoming Jackie to my blog. If so, I do hope you enjoy the visit, and perhaps gain an insight into my two-handed art. With my new visual aids I have gained a deeper insight into my mark-making. Thanks for that!)

What I can do with two models I can do more with one.

In my analysis of my three days of drawing double model poses at Extreme Poses in Stroud I identified  'Theme 1 - Abstraction' and in 'Theme 2 - The Broken Narrative' (see previous postings). After a break from life-drawing of almost three weeks it is these two themes which seem to have influenced my latest engagement with the art of drawing the nude figure. This time the model is Paul, and the two drawings below are each a composition of parts of two different poses.  So pose one is added to by a selected part of the second pose of the morning. And in the second drawing pose three has parts of pose four incorporated into the composition. This is a further extension of my experimentation with the concept of 'anagram'. I warm to its potential.

Double model, 3 days: analysis. Theme 4 - Intimacy

No anagram, no broken narrative, just two straightforward drawings of the two models posing together. Two different models on different days.

Double model, 3 days: analysis. Theme 3 - Looking Up

The rare, if not unique, aspect of Paul Fowler's 'Extreme Poses' is the suspension of the model or models in a fairly minimal harness of straps and ropes fixed to the ceiling structure of the studio. They climb the ladder and spend time getting 'comfortable' for the usual 30 minutes of a pose. Sometimes I lower my easel and sit. I am usually about a metre or at the most 2 metres from the nearest piece of anatomy. But even if I am standing at my easel the models are at my eye level or just above. It is pleasing to achieve in the drawing this sense of elevation. It does not always happen. We are so used to looking across and seeing others located firmly on the ground. The concept of the downward pull of gravitation is basic to our understanding and interpretation of the world of which we are part. In each of these seven drawings I feel I have incorporated this sense of looking-up, a sense of lightness, a sense of bodies in space, a sense that perhaps something fundamental has been removed and we are being taken into a different time/space dimension within which two bodies are interacting in a different way.