Looks like a continuation from last week, i.e. a number of varying responses, no observable theme being followed, me in a very relaxed state with no aim other than to start drawing and seeing what emerges. I do recall a thought however, which was that I just wanted to enter my process in a carefree way and to enjoy what happened.
I suppose I ignored the model's 5 five minute dramatic gestural poses which were quite a challenge for her to maintain (even for 5 minutes) and quietly got on with drawing the part of each pose which I was attracted to, and gradually a sort of narrative emerged which I then developed, e.g. a suspended foot (top right) was later balanced with a suspended hand (top left), a gaggle of six breasts juxtaposed themselves on the left of the composition, a pronounced set of vertical features aligned themselves together to form a central spine to the composition, the emerging central focal area became emphasised by my introduction of the side profile of her face in the final minute or two.
All drawn with a 2B graphite pencil in each hand.
A fairly abstract outcome. I know what the pose was but not necessarily for the beholder to work it out. We see two feet up in the air supported on suspended straps, and down the bottom we see a hand cupped over the edge of a plinth.
Fine-liner pens, graphite pencils and Derwent tinted charcoal.
The full form of the single outline of her bottom filled the paper, so when her arms and legs were introduced these had to start and therefore seem to emerge from within the original form. I find it interesting how each limb has adopted its own particular relationship with its spatial context and with the original outline of her bottom. Let me explain: the extended left leg is contained within the outline of the upper part of her left thigh; Similarly, the right leg is within the outline of the underside of her right thigh; the left arm extends out into space beyond the initial drawing, whereas the drawing of her right arm is contained within and therefore framed by the lower back of the initial drawing.
I've done this before. So have I withdrawn into my comfort zone? Don't think so, as when I bring close together, and morph, the outline profiles of the two sides of the pose (missing out the bit in between), something unexpected always seems to result. Even if its simply a weird form. Here also the horizontal leg asks the question how is this part of the pose. It was, but even I am now unable to recall exactly how it relates to the two sides.
And for the final 30 minute pose our model (in response to popular demand) attempted to recapture one of her early demanding 5 minute 'dramatic gesture' poses. She held it for perhaps 8 minutes or so until she had to reposition parts of her body. Later she again undertook a slight repositioning to something which was more comfortable for her. I love this animated posing, but what it did mean is that with each move that which had already gone into the drawing didn't make sense to the new drawing which was appearing. At one point I only saw chaos in front of me portrayed in the space within my paper. I instantly recalled a recent posting in which I had talked of a new language of 'irrationality, infinity, chaos and insolvability', (at this point I opened my note book to check on these terms and my observations to myself made at the time) and here it was, right before my eyes, but 'What Do I Now Do With It?' now that I am confronted with it? But I am not being confronted 'with' it, 'cause I am part of it. I am in it. What is taking place is part of a process, and I am a 'process artist'. So the end has not been reached, there remains 5 to 10 minutes of the overall 30 minutes of this final pose. And I just went into my drawing with a form which was dominant in my perception at that moment, I guess with the intention that it would bring calm out of chaos, and clarify any insolvability which may confront the beholder, and this form was of her, on the edge of the plinth, with the underside of her left thigh filling the paper and I introduced some tinted charcoal tonal work to help this stand out from, and hopefully reunite, the irrationally related other parts of the pose.
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