"My next leap"

These are the three drawings which I refer to in my previous posting, within which I detect something different is beginning to firm up. Its not completely new and has happened on a number of occasions previously. But I am now much more aware that I can engage with this emerging 'phenomena' on a consistent basis. This does not imply that I will be simply repeating the approach over and over again, but it does mean that I have discovered something particular which I feel is very special to me and has an inherent scope for experiment and exploration.

I recently came across the term 'overlay', and said "Yes" this describes what I am doing on the paper. I am drawing one pose, or part of a pose, on top of another, and repeating this a number of times. But this does not fully describe my process. So if I adopt this term of  'overlay', and then place alongside it the terms I have previously employed, i.e. 'superimposition', 'transparency', my 'anagram' process, synthesising more than one pose, morphism (and there are probably some others if I care to look back) then I am beginning to describe my current genre. However, I firmly believe that fundamental to my 'process' is my engagement with a 'spatial' aspect which can be identified in a number ways:

a) my kinetic stance as I respond standing at my easel with a pencil in each hand moving back and forth,

b) my immersion in the space between myself and the model and my sensitivity to the dialogue between artist and muse,

c) that as I explore that which I am looking at and that what I am feeling finds expression through my mark-making on the paper.

d) that on the paper there is emerging space within and space beyond the anatomical realisations.

This first drawing includes parts of four 5 minute poses by Penny at the start of a two hour life-drawing session on a Monday evening run by Claudia Peake in Monmouth.

This second drawing is of parts of four 30 minute poses by Paul at Extreme Poses run by Paul Fowler on a Thursday at Pegasus Art in Stroud. I was much more selective and considered, than is usual, in the parts of each pose I included and in my mark-making. The first part to be drawn is the knee and foot diagonally located from top right to lower left with the right foot curled behind it. The two arm and hand drawings were next added. Finally, I recall it took quite a bold move on my part to impose the final drawing (I just went for it) of the left knee, shin and foot, from top left to bottom right. At the top of the paper the receding thigh of the last drawing conveniently linked up with the shoulder lines of the two arm drawings to complete an overall holistic, and morphed, form.

Finally I'm back with Penny but this time on a Tuesday at Angela Palmer's class at Brockweir in the Wye Valley. Here I was able to move my easel across the studio and include a view from her back after having drawn her right shoulder,breast and hands, and also her legs and feet. I moved back and forth two or three times to complete the details and final mark-making.

This last drawing places my process within 'cubism' in that I am engaging with the whole from different view points at the same time.

One final observation: It does demand quite an effort to keep with the one sheet of paper, especially when the first drawing seems to work and anything additional might detract. But then, that does not matter in the least. I have always maintained that it is the process which is important and not the end product. However, the end product does have a significance, in that it appears the end product is always greater than the sum of its parts, e.g. a narrative emerges, ambiguity is inherent, the beholder has to take a second, third or even fourth look, etc.

A brief interval before my next leap

The leap I refer to is what I detect in the intensity in the three drawings I am about to place on my next posting. The drawings below are representative of my currant work in general. But the three to come I feel announce an additional dimension to my process. I will attempt a brief outline of what this is in the accompanying notes.

Next, we have, believe it or not, a fairly conventional response, perhaps touching upon Degas. Every so often I somehow revert to my charcoal or pastel or conte phases of my life-drawing journey. But this does not have anything to do with the medium.....it has to do with me feeling that there is some special quality in the wholeness of the pose that has to be responded to (i.e. I am compelled to bypass any engagement with 'deconstructionism). 

I applaud Tony Tribe's suggestion that I engage with the context/background, an aspect of my approach which in recent years I choose deliberately to ignore.

A fascinating dialogue with Sally on November 13th 2017

Four quite different responses. Firstly some five minute poses orchestrated on one A1 cartridge paper with my two-handed graphite process. Then two poses superimposed. Then one of my anagramatic processes of reconstructing my engagement with, this time, parts of two poses. Finally a 40 minute response using bold soft graphite pencil mark-making with the lights in the studio almost completely extinguished. 

A synthesis! Bringing Robin together in a new way.

Four drawings from the 30 minute poses by Robin at Paul Fowler's 'extreme poses' at Pegasus Art in Stroud on November 16th 2017. And something new emerged. I know I often claim innovatory moves in my art, but often these are imperceptible to eyes (or minds) other than my own. Earlier in the week (see the two postings for November 13th and 14th either side of this one) I did draw on two occasions the 'un-destructed' pose. Fairly unusual for me, these days. But, in retrospect, I do believe that it set up in my mind a need to bring a greater 'completeness/wholeness/unity' to my compositions. What I am about to try and identify has occurred before, but not quite with the eloquence which I believe exists here. The process I was conscious of included some carefull consideration of the placing of one part of the anatomy with another. Look for these in the four drawings. For example, marks which represent the outline of a hand will meet and then continue the line of the leg. For example, breasts will find themselves superimposed on the left buttock so creating a new form of its own. The eye of the model peeps over her upper arm which itself coincides with the thigh, suggesting that she is peeping over her thigh. And, so on and so on. I am enjoying and am excited by what is now happening, as there seems to be a qualitative shift in the outcomes, and therefore in the anagramatic process itself, of reconstructing the pose before me to reflect more my engagement in the muse/artist dialogue.

A longer time on a drawing than usual: Andrea on November 14th 2017

I have previously used tinted charcoal with graphite pencils and discovered that the tinted charcoal presents a transparency which allows the preceding graphite marks to still be clearly seen. In addition, the surface of the tinted charcoal allows a further use of the graphite pencil mark-making to take place. Here I decided to use the tinted charcoal after having explored the forms, shapes and lines of Andrea's body with fine-liner pens. One in each hand to start with (0.1), then emphasising with a 0.8. The weight and strength of the tinted charcoal was diluted by heavily caressing the surface of the paper with a tissue. Additional 0.1, followed by some 1.2 fine-liner mark-making then took place.

Extreme Poses with Robin on November 9th 2017

I like the playfulness of the first drawing, the entanglement in the second, the grand sweeping of limbs in the third, and the careful composition and complexity of the fourth drawing.

Drawing Andrea on November 7th 2017

After a time away from this venue it is good to be back at Angela Palmer's life-drawing class at Brockweir in the Wye Valley and with the amazing Andrea. I usually do the morning only but Andrea is such a fascinating and inspiring muse who challenges herself in her devotion to her art that I just had to stay for the afternoon session as well. I am glad I did.

Drawing Paul on November 2nd 2017

As with Robin on October 12th I am with the model Paul at Paul Fowler's 'extreme poses' in Stroud.

Drawing Penny on November 6th

I am at Claudia Peake's two hour Monday evening life-drawing session in Monmouth drawing Penny.

Drawing Robin on October 12th 2017

A full day with Robin. Some graphite pencils and some fine-liner pens. All 2handed to start with, on A1 220gsm cartridge psper.

October 12th at 'extreme poses'

I'm off to Sardinia in the morning so have not had time to photograph individually my drawings from this full day with our model Robin at Paul Fowler's 'extreme poses'. It was an interesting day. I started by drawing with two fine-liner pens, something I have not done for many months. For other drawings I used my usual graphite pencils. After some reflective thought I will post any observations with the drawings.

How can two Thursday mornings turn out so different?

Compared with my 5 drawings posted on September 28th under 'A muse's job' these 5 from yesterday are at the other end of the scale. Previously I was so pleased, not only with the outcomes, but more importantly with the qualities and nature of the processes I went through. But yesterday there was so much frustration, particularly noticeable in the final drawing in the uncaredfor hatching. I believe I understand what happened........the evening before I went through my drawings from the past few weeks, and made notes on the aspects I liked and therefore which aspects I might take forward (I may post these notes soon). But what this analytical and self-assesment exercise did was to place me as an objective critic of my art, and I have always believed that although it is essential to bring 'analysis' and 'creativity' together there are times when they should be kept well apart. From my experience my best work is done when I just go for it, responding to the moment, with no plan.