I have entered thro' the door into my perception (or perhaps into a greater insight of my perceptual processes). So at this moment in my life-drawing journey I am saying that I see my life-drawing process as a 'perceptual activity'. 'Mark-making' is incidental yet significant.
I believe I am much more engaging with both the 4th Dimension and the 6th Sense than previously.
The drawings I have recently posted I claim are reference to this.
I have talked in previous postings of my engagement with the 4th Dimension and what I believe this to be: its about a fairly complex process of drawing with time and with space, and drawing in time and in space.
So what about the 6th Sense?
There are two very recent occasions which brought home to me the nature of the 6th Sense.
Firstly, whilst I was drawing Gemma in a lying pose with her head towards me and her body stretched out in a long perspective I was starting to recall drawing Kate in the same pose but two years previously. No conscious recollection or conscious comparison at the beginning. The connection and relationship between the two situations only gradually emerged. They took place in different venues. They were two years apart. I did not make any conscious connection. Yet, within me links were there. And many aspects of the two drawings are similar. I have posted them together and made a further comment on them. There is a strong personal connection and relationship between Gemma and Kate which no doubt played a part in the similarity of outcomes of the two drawings, influenced through the way I perceived the two people as one.
Secondly, it is with the model Natalie. She modelled around 9 to 10 years ago and I have many examples recorded on this blog from this period. Many expressive pieces mostly it appears in charcoal. She was amazing. And consequently her overall poses and the characteristics of the way she held her head, hands and feet, became embedded in my vocabulary. This enforcement of retained images was regularly strengthened as I scrolled through my blog for various reasons on many occasions. So imagine my surprise and absolute delight when the other day after setting up my easel and paper I turned to find her entering the studio in her robe. No news or any other indication it was to be her, so no 'mental' preparation or anticipatory thoughts. There she was. She climbed on to the plinth and into the ropes and what was I seeing? I had instant recall of those images, and what is more the pose she took up was in my mind right down to the dangling hand. So in the posting I recall an earlier drawing to relate to the present one.
The 6th Sense was fundamental to both these situations: i.e. the role of memory in influencing our perception, and this playing a part on that which appears on the paper.
I believe I am much more engaging with both the 4th Dimension and the 6th Sense than previously.
The drawings I have recently posted I claim are reference to this.
I have talked in previous postings of my engagement with the 4th Dimension and what I believe this to be: its about a fairly complex process of drawing with time and with space, and drawing in time and in space.
So what about the 6th Sense?
There are two very recent occasions which brought home to me the nature of the 6th Sense.
Firstly, whilst I was drawing Gemma in a lying pose with her head towards me and her body stretched out in a long perspective I was starting to recall drawing Kate in the same pose but two years previously. No conscious recollection or conscious comparison at the beginning. The connection and relationship between the two situations only gradually emerged. They took place in different venues. They were two years apart. I did not make any conscious connection. Yet, within me links were there. And many aspects of the two drawings are similar. I have posted them together and made a further comment on them. There is a strong personal connection and relationship between Gemma and Kate which no doubt played a part in the similarity of outcomes of the two drawings, influenced through the way I perceived the two people as one.
Secondly, it is with the model Natalie. She modelled around 9 to 10 years ago and I have many examples recorded on this blog from this period. Many expressive pieces mostly it appears in charcoal. She was amazing. And consequently her overall poses and the characteristics of the way she held her head, hands and feet, became embedded in my vocabulary. This enforcement of retained images was regularly strengthened as I scrolled through my blog for various reasons on many occasions. So imagine my surprise and absolute delight when the other day after setting up my easel and paper I turned to find her entering the studio in her robe. No news or any other indication it was to be her, so no 'mental' preparation or anticipatory thoughts. There she was. She climbed on to the plinth and into the ropes and what was I seeing? I had instant recall of those images, and what is more the pose she took up was in my mind right down to the dangling hand. So in the posting I recall an earlier drawing to relate to the present one.
The 6th Sense was fundamental to both these situations: i.e. the role of memory in influencing our perception, and this playing a part on that which appears on the paper.
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