Here we are at another 'virtual' life-drawing session.
I ask how much longer can this be going on?
Is this becoming the norm?
More importantly how are my own life-drawing responses changing to this new medium?
I do see some changes. But exactly what they are, and how significant they might be, I am not at all sure.
I prefer the view that what might be detected is an evolutionary change. In other words, I am simply moving on from that which has appeared in the past, and any difference will often be slight but occasionally will be revolutionary.
As you know I have a pre-occupation with the 'transparency' philosophy of Francis Picabia, and I have written about this many times before. The outcome of this approach is that I have become infatuated with the idea of placing one drawing on top of another, and then perhaps a third drawing on top of what has gone before, and so on. This then becomes a battle and a challenge to sort out the emerging confusion of lines which are appearing on the paper.
Today was no exception to this evolving process.
To start with we had three 5 minute poses. I still am unable to find all three.
Then on to two 15 minute poses.
The long arm and the breast went in first, and gave a structure to the composition. The face profile attracted, and as in a number of recent drawings this was introduced within the already established framework of the body. I then could not resist the foot, which is a part of the anatomy I have become addicted to.
Here the upperpart of the pose (the legs) are lowered in the drawing to engage with the lower part which is brought up to meet it and to overlap with it.
Finally, and for 40 minutes, Wren created a lovely triangulated format which |I enthusiastically engaged with. My linear line approach became challenged as I felt a need to introduce some tonal response, which I did with a minimal application of some Derwent tinted charcoal caressed with my fingers.
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