I've responded similarly on many occasions as the model changes poses every five minutes and recalls Duchamp's figure moving down the staircase. But this time with some tonal additions using a big brush and three ink wash densities.
In the two above drawings the model lay horizontally before me. I condensed the pose by bringing the two halves together and overlapping them, and with ink washes landscapes appeared on the paper.
In a recent posting I described how I had introduced a series of circles on to the paper in order to help suggest a 3-dimensional spatial geometry to assist my engagement with the space within, around and beyond the surface of the paper. The circles would also provide focus points within the space of the paper to locate selected parts of a pose. These might be drawn at different scales, and even from different viewing points, and possibly with different perspective vanishing points. I might then extend one or more of the selected parts to outside of the circle thereby embracing my morphing idea and ultimately creating a new form. This new form could then introduce ambiguity, and be open to alternative interpretations.
I had a few moments to fill at the end of this first day and just felt like picking up a graphite pencil in each hand and bring together some of the lovely parts of the pose.
Niel talked of the value that a frame gives to a drawing. And by placing masking tape around a paper washes can be given a edge and other marks halted. I experimented with this in the above drawings. And I feel that a drawing can be enhanced by this addition.
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