Sources and realisations.

 I continue to be fascinated with, and by,  my art.

Not sure why, but the other day I compiled a number of connections, which seem to make sense to me, about possible early foundations to the journey I have so far made.

In the summer of 1961 I went on what was to be the first of my European Grand Tours. With my mates, Geoffrey Randell and George Sowden, at the end of our First Year at Cheltenham School of Architecture, we set off in a short wheel based land rover, armed with a copy of Bannister Fletcher's 'History of European Architecture on the Comparative Method' to visit as many of the great pieces of architecture as possible. Through Germany, France, Austria, Yugoslavia, Greece, Italy and Spain we indulged ourselves in the ancient, classical and the modern. 

We drove in to Rome and halted at the foot of the grand steps up to the main facade of the basilica of St Peters. A short preamble took us into The Vatican and in to the Sistene Chapel. Can't recall any one else in the place. I looked up and then laid myself, on my back, on the floor in the middle of this huge overpowering space......... Figures came towards me....exaggerated perspectives......anatomical extravagance..........

Next here is a very early life drawing of mine. The model is Robin, who is a ceramicist and designer of tiled displays in peoples kitchens and gardens. She spent the summer months in Crete and when she posed for us at Paul Fowler's Extreme Poses she became a real favourite and a truly inspirational model. In this drawing I used charcoal applied and worked on clear gesso treated cartridge paper.

Next I turn to Albrecht Durer whose draughtsmanship and attention to anotomical detail I have found truly inspirational..

People who comment on my work frequently say something like "You are good at hands and feet". Yes, I am. But this attention to the extremities has come about because I no longer am interested in addressing the complete whole pose. The dangling hand, and the contorted toes fascinateme. 

However much I place attention on the hand, or the foot, it is always the context which I am aware of and a reference to this, and acknowledgement of it, which enters in some way into my compositions. 

If we look for a moment at the immediate context here we see an extraordinary anatomical exaggeration: take a close look at the huge size and length of the left thigh and leg.......amazing! 

Via the paintings and drawings of Michaelangelo I have been introduced to 'anatomical complexity', 'bold foreshortening' and ''daring poses'

Finally, in this brief journey into the roots of my art, I am going back to my art at school. In the sixth form I spent more time in the art room than I should have done to the detriment of my performance in mathematics. It was Bill Howells, my art master, who suggested to me that my figurative work resembled the exaggerated elongation of El Greco's figures. I pursued this introduction to the paintings of Domenikos Theotokopoulis, bought books on his works, and sought his paintings in art galleries whenever I could.

So, from these early engagements with Michaelangelo and El Greco I can source my pre-occupations with:

exaggeration        expressive

spatiality               anatomy

And with my engagement with Durer I can source my love of 'the line' .

My minimalist linearity more recently owes influences from such artists as Klimpt, Schiele, Matisse, Bellmer, and a few others. 

I will add that I have always loved drawing, and am reminded of its value by Henri Matisse : "When you draw you look much more intensely at something"

And when life-drawing:

My model

The Pose

She or He

Starts an immediate dialogue

provokes an instant response.

I respond

by

exploring visually

then emotionally

then kinesthetically.

I commence,

I engage,

I enter.

A sequence of arrival

A balance of form.

Lines: "No room for them to go anywhere else" (Paul Fowler)

I walk through space with my drawing

My journey evolves. 

                                            From a recent entry in my note book.

Also:

I don't care if I don't draw well

I just love drawing.

I don't care if I don't draw correctly the human body,

Drawing the human body is fundamental.

In this action we touch the basis of art,

and 

we reach into the very self.

                                           Also from my note book.

Paul's 'Language of Drawing' Workshop on July 21st, 2022

Following a really enjoyable workshop Paul Fowler sent out the following message:  

"Thank you all for making the day successful, The language of drawing was my opener to a series of workshops that I have been planning for some time. 

The workshop did work and supports the idea that openly encouraging discussion

and experimentation with your individual drawing processes can open up new and existing developments within the safe space of the life drawing room. With insights into how you encourage your drawing to grow and  develop.

I will of course continue with extreme poses life drawing on a Wednesday and a Thursday morning. And will be announcing a new workshop shortle

This is the list of questions from the workshop, just in case you didn't get them all down.

My aim is to question your perception of how you see or judge your drawings..

What do you believe is a good drawing?

Can you be challenged?  

Is communication your goal? 

Do You think your judgment is the same as others? 

Is praise important? 

Should you start a drawing the same way each time?  

Superimposing your emotions. See you soon Paul."

In between poses by Paul Boon our model for the day a series of dialogues and discussions took place. We worked in pairs with our observations and comments between each pair were listened to and shared by the group as a whole. At other times throughout the day we intermingled and talked over in quite some depth what we had been experiencing and what breakthroughs were taking place in each of our life-drawing journeys. A real sense of a community of life-drawing artists was enhanced. 

Immediately following the workshop I sent the following to Paul:

Hi Paul

Not yet had time to start to reflect on today's workshop. But I do feel it was very worthwhile. It is always extremely beneficial to get insights into how others perceive and understand their own approach and process. This helps to more fully question and understand, by comparison, one's own approach. However, perhaps my immediate thought is that such an event as you put together today strengthens the bonds within the community of life-drawers, and indicates to its members that it is possible to talk together, share experience, gain insights into other approaches, and having once witnessed the value of this then the next time they find themselves in a life-drawing studio then dialogue and discussion will more naturally flow. The sense of a communal  shared endeavour, enquiry and journey is difficult to create, but you have clearly achieved this. 

So, I can now confirm I have booked myself in on Thursday mornings up until Christmas, and look forward to participating in, and being part of your community of life-drawers. 

Love and best wishes,

until August 25th

Bob

Here are my drawings from the day:

We are asked to represent the essence of the pose: my response is, 'the box is supported by the hand, the elbow sits on the knee, the foot is on the plinth' This is weight being transferred via gravity.

Then come three of my typical deconstructivist creations........

This is quite different to my usual response. Not sure what to make of it.

All poses during the day required Paul Boon, our model, to relate tot the suspended box. Here, right at the end of the day, and very quickly, I captured him as 'Atlas supporting the world'

This was a bizarre exercise: eyes closed, feeling our face with one hand, drawing what we felt with the other hand. Here are three drawings. two with my dominant hand, and a third with my left hand, Superimposed on these is a response to Paul Boon up in the ropes. You should be able to detect the ropes, an outline of his buttocks, and a horizontal lower leg and foot. Not at all sure why we were asked to place these two together.

My refined line

My line has become more confident. 

It has jettisoned uncertainty.

It responds to the essence of the pose.

In these latest of my life-drawings, through the quality of my line, I celebrate my art as I respond to the beauty of the female body enhanced by an intimate and shared dialogue.

The dialogue here is with Shelley and Jacquie.