A 'narrative' joins 'the process'

 Quite an extraordinary day today! It is my third 'real' life-drawing experience after the long period of isolation. Also I've been looking back over recent works, and attempting to come up with some sort of thesaurus which says something about my 'process' (see last posting):

assemblages; fragments; divergences; remix; singlearities; manipulation; multiples; fractured; randomness; scavenging; combinatoric rearrangement; re-contextualise; conceptual integration; random juxtapositioning; de-construction and re-construction; collage; distortion; fractured; fragments; juxtaposing the parts; mutilated; dismembered; distorted; surrealistic; making a drawing with the laws of chance; morphing; transduction; 

All the above, I believe, may be used, perhaps in relation to a specific drawing or a period of drawing, to describe the process of how my drawings come together on the paper and are quite different and independent of my 'spatiality' world in which I use the now very familiar terms, such as: superimpositioning; overlap; transparancy; penetration; depth; the 4th dimension; complexity; layering; differing scales; spatial entanglement; 

I will try to explain today's set up: Paul Fowler had previously designed a zoom sessions in which the model enacted a storey line (I did not take part in this): sitting at a table she received a letter, the contents of which upset her and increasingly caused her distress, and she became animated, the letter became crumpled, her cup was spilled, and her despair resulted in a distorted entanglement with the table and chair. However, today the original female model was unavailable so our long standing Paul (the gardener, not the same Paul as last week) took her place. 

We were to follow the usual format of 5x30 minute poses, to take us through the morning. In each pose Paul was to act out a stage of the narrative.

So, I did five drawings, and right from the start I realised that a number of aspects could give continuity thro' the series: e.g. the spatial and form relationship between the model's leg and the leg of the table.

Here are the five drawings:

Nos 1: Paul's  right leg and the table leg with me focussing on the space bewteen the two. I then superimposed the hand holding the letter. Quite calm and restful at this point

Nos 2:The letter is still held but in the other hand and the head is in the hand as the content of the letter is responded to. 

Nos 3: Distress sets in. The head drops to the table and is buried in the letter. The leg become more stretched out with slight tension in the toes.

Nos 4: The chair slides back as Paul sinks to the floor, head further lowered and arm gaining some support on the edge of the table. The letter becomes crumpled and squeezed. A cup is knocked over.

Nos 5: Finally Paul ends up under the table and gains some support by tightly gripping the table leg. Crumpled letter and mug have ended up on the floor.