Andrew is modelling with:
2 x 2.5 minute poses
1 x 5 minutes
1 x 10 minutes
1 x 25 minutes
1 x 45 minutes
As previously I selected some old drawings from which I could choose an appropriate one when Andrew assumed his pose. I also brought into play another earlier approach of mine in which I placed on the paper geometric forms which would help me enter into the vast space of the paper. For many years I have not seen the paper as a 2-dimensional surface. It is a huge space which not only penetrates into the depths of the paper but also goes beyond the edges of the paper. This space also comes forward to engage with me as I stand or sit on the other side. In a live life-drawing situation the space which I am perceiving then also goes beyond to engage and embrace the model. I have held this concept in my life-drawing activity for quite some time now, and have discussed it previously. Then within these geometrical spatial structures I can place the pose, or parts of the pose, as I react to them. Different scales and different perspectives can be used in different parts of the drawing. This framework, for me, does not impose strict boundaries. Bits can burst out of the parameters of the geometries and thereby overlap and superimpose, which has become a pre-occupation of mine and so a characteristic of my recent work.
2 x 2.5 minute poses
1 x 5 minutes
1 x 10 minutes
1 x 25 minutes
1 x 45 minutes
As previously I selected some old drawings from which I could choose an appropriate one when Andrew assumed his pose. I also brought into play another earlier approach of mine in which I placed on the paper geometric forms which would help me enter into the vast space of the paper. For many years I have not seen the paper as a 2-dimensional surface. It is a huge space which not only penetrates into the depths of the paper but also goes beyond the edges of the paper. This space also comes forward to engage with me as I stand or sit on the other side. In a live life-drawing situation the space which I am perceiving then also goes beyond to engage and embrace the model. I have held this concept in my life-drawing activity for quite some time now, and have discussed it previously. Then within these geometrical spatial structures I can place the pose, or parts of the pose, as I react to them. Different scales and different perspectives can be used in different parts of the drawing. This framework, for me, does not impose strict boundaries. Bits can burst out of the parameters of the geometries and thereby overlap and superimpose, which has become a pre-occupation of mine and so a characteristic of my recent work.
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