A descriptive definition of my art

Paul Fowler is putting together an exhibition of work by his life-drawing students, and he wants us to select 4 or 5 drawings and to put together a piece of text which will be published. So here is my draft attempt which I may refine over the next few hours before I send it off:

“Remember a line cannot exist alone; it always brings a companion alone. No lines can go wild; every line must have its function”     Henri Matisse 1908

In my magical and totally captivating life-drawing process a sequence of arrival of selected parts over time sees that each takes its place in space, indicating no chronology of choice and arrival, and suggesting no hierarchy of importance. In the way I juxtapose these parts I provoke depth and perspective and create a spatiality which holds a degree of ambiguity and uncertainty. Through overlap, superimposition and transparency in my multi-faceted re-scaled model I embody a balance of form.

My two-handed drawing technique is the instrument of my physical and kinetic action which I believe enhances the perceptual and cognitive aspects of my approach. It is a whole body-mind engagement. Upon each occasion the model initiates the dialogue which then develops through my experimental mark-making which incorporates risk. Currently I elect to work within a defined set of tools, i.e. A1, 220gsm white cartridge paper, portrait format, a fine-liner pen in each hand. These parameters inhibit any distraction from seeing the model and entering into the depths of my process.

Over sixteen years I have explored pencil, pastel and charcoal, have been a colourist and tonalist, moving from realism to figurative expressionism, whilst displaying the whole pose. In recent years the line has become my vehicle. With a graphite pencil or a fine-liner pen in each hand I somehow in my mind, deconstruct the pose before me whilst simultaneously bringing those parts of the anatomy which attract into a new but unanticipated composition.

I am a student of my own art and my commentary, self-analysis and reflections I have recorded on my blog alongside postings of all my drawings, see: www.bobfowleslifedrawing1.blogspot.co.uk

The morning of the tutorial

Our tutorial with Paul Fowler was at 2.00pm on Thursday afternoon. In the morning we had our usual five pose session, this time with Paul Boon as our model. I've frequently observed how I seem to make a significant move after I have spent time analysing and writing about my art. Although not a conscious process I seem, by going through an analytical process, to draw a line under what has gone before and to set a platform for the next stage in my evolutionary development. Well, this time it is all very clear. Composing the questions to be addressed in the tutorial and going through past drawings in order to select a few for discussion, made me look deep into my recent work and approaches. Not all five drawing exhibit a change but there are two, and one in particular which stand out. 

So lets look at the last two drawings, and I will place a relevant observation alongside them.

Paul has his feet on a plinth and his upper body is supported by a strap suspended from the ceiling. He grasps a strap with his left hand and his right arm dangles down. He held this pose for 30 minutes. Amazing. 

I rarely draw the whole pose these days but just had to include the long diagonal from left hand right down to his dangling right hand. I included the corner of the plinth to indicate his hand hanging in space. What else to include, and how to do it? I still find it a bold move to then change scales in one drawing but perhaps what is even more of a bold move is to superimpose one drawing on top of another. There is a huge risk here. How will it work out? One has no idea. It is an experiment and a gamble. And it worked. 

The long diagonal of the hanging figure is drawn with a very fast and free mark-making technique. It is a fully two handed drawing. I slightly moved my position to gain a direct look at his feet, with his toes curling over the edge, and as a consequence one arrives at two views of the plinth with a change in angle and perspective.

So, on to the final drawing of the five, and this is different. I do not think I have been here before. It is far more abstract. There is no clear overall pose suggested. There is a pleasing variety of mark-making. Fluid light enquiring explorative early lines, are followed by sharper bolder confident deliberate lines. The weight of his upper torso is expressed by the sheer size of his shoulders, with only a suggestion of how it is supported by a brief indication and not a continuous line of the straps. The grouping of different weights and character of lines around the two strap positions is quite sophisticated and shows a maturity of draftsmanship. The body appears to float in a huge space that goes off in to the depths of the paper. Much of this seems new to me, or at least reaches a level of skill which is very refreshing. On the other hand there are a few references to some of my frequently visited themes: the hand and foot drawn to a different scale and inserted into the space of the principal form, and employing a different mark-making technique. But what I am relishing is in a drawing of a human body I have created something on paper in which the lines, the marks, the shapes, the space, everything that you see on the paper, takes one beyond the usual product of a life-drawing event.

 

Tutorial Questions

Tomorrow, Clarissa and I are having a joint tutorial with our mentor Paul Fowler. We have each prepared a set of questions for Paul to address. The idea is that we spend 30 minutes each in which Paul discusses our work in turn and the other will attend as an observer and make notes. The intention is for each of us to progress our individual art, to gain a further insight into each others approach, and to hopefully to use this opportunity as a basis for selecting drawings for forthcoming exhibitions. The first of these will be May 13th to May 29th 2022 for participants to Paul Fowler's Extreme Poses in Stroud. The second is an idea that Clarissa and I have a joint exhibition of our work. (I will add that together we share the driving alternate weeks over to Stroud and during this time together always talk about our art: i.e. Our approach to the morning ahead, then on the return journey a reflection on what has just taken place)

The process of selecting drawings to discuss with Paul I found extremely difficult. I have kept so many from the 15 or so years of life-drawing despite having two huge clearouts. Many classic pieces I felt could be selected which would be interesting to talk over. Yet recent years has seen a particular direction emerge both in what I select from a pose to place on my paper and in my mark-making. The last few sessions, I believe have seen a refinement in the content of this direction, and I now feel this is a good time to apply a focused discussion and critique. 

I have been tormented by this selection difficulty. Then at 4.00am this morning, in bed, being kept awake by this problem, a sudden flash of a solution appeared. Why go back over the past? We know what has taken place! We can see what is now taking place, so lets make a judgement on how the present can be seen as a foundation for the journey ahead. Simple! I take with me 8 or so drawings which illustrate the latest revelations of the essential characteristics of my work. To support this decision I am arguing that everything that has gone before is a preparation for the now, and that what has appeared over the past few sessions will become the springboard for that which is to follow. What has gone before is now history. Good for a retrospective. 

I am writing this posting a day or so after I refined my questions, which in fact I sent to Paul and Clarissa on February 7th, two days ago. Rereading them I can see that I had already felt that I wanted to ask Paul what his views are about where I now am, and what it is that I can take forward. This should be a different kind of feedback to the one we receive from Paul every week at life-drawing, which are often short and succinct, perhaps between poses or at coffee break or perhaps at the end as drawings are left on the wall for a few moments and one stands back and does a quick reflection. I am very much looking forward to it. It takes place after lunch so I may have to adjust my selection depending on what appears on my paper during the five poses in the morning session.

Questions for Paul on Feb 10^th 2022

 

My questions address recent work and I will have 7 or 8 drawings to look at:

1.       Amongst many terms I have used to describe my approach/process the following I feel, currently, are key:

‘de-constructing then re-constructing’ (my Cubism),

‘superimposing’ (creates new forms and insights),

‘transparency’ (looking through, into and beyond, after Francis Picabia),

‘spatiality’ (my architectural base finally coming through, but in a different way).

Do you recognise and agree with this quartet of terms? OR are there other terms which are more appropriate?

 

2.       What is different, perhaps unique, about my art? That which identifies me, and which I can celebrate and build upon?

This may be the most important question that I am asking you to address

 

3.       As you know, I analyse my art (when I am composing stuff on my blog) and so am fairly familiar with my strengths and weaknesses. However:

Are you able to inform me of something, that you think I do not already know about my art?

 

4.       Does my deconstruction of the pose violate the essential beauty of the nude?

Am I in danger of offending?

 

Bob F (07/02/2022)

February 3rd with Shelley