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.
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