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.