Twenty double-model poses

On December 1st and 8th at 'extreme poses' in Stroud Paul Fowler gave the stage to two creative models. Three plinths of different heights were placed below the usual trapeze structure and this allowed a fascinating series of dialogues of stimulating poses.
The constants for me were: A1 paper in portrait format, 220gsm cartridge paper, two-handed drawing with graphite pencils. Each day I produced 10 drawings from ten 30 minute poses, 5 before lunch and 5 afterwards.

I post them more or less in the order they were created. If I had an intention then it was to explore the essence of what it is to have two models together, i.e. what is special about the double model pose?  Otherwise I recall being completely relaxed about the two days ahead. So much so that my first response was the opposite of my self-declared intention as I was attracted by the line of the two arms and breasts of one of the models.

Here is a summary of the processes of the two days:

(i) I explored a variety of mark-making techniques from my 'squiggle' (as in this first drawing) thro to my three stage linear approach, and then the 'flowing lines' of the last drawing.

(ii) I soon realised that two models together created an anatomical complexity which was often difficult to unravel, so much so that I did not have to enter my 'deconstruction of the pose before me' and then to 'reconstruct into something which reflected my feelings'.

(iii) Some quite abstract compositions resulted as I focussed on just a part of the dialogue between the two models. On occasions I introduced or superimposed another part of the pose into the composition, and this has resulted in me being unable to recall what I was thinking or doing at the time. When I can't recall the pose, or what I was feeling at the time, this confirms my belief that it is 'the process' which is all important to me (not the drawn outcome), it is 'Me, The Model and The Moment' that is the essence of my art.

(iv) There are some interesting contrasts between 'the dangling suspended body' and 'the body supported on a plinth'.

(v) Usual issues of 'relationship of the drawn pose to the edge of the paper', 'the spatial organisation within the pose and within the depth of the paper',  'exaggerated foreshortening', 'contrast in mark-making', etc., etc., are I believe all addressed in these 20 drawings.

Forthcomig delight: 3 double-model days at 'Extreme Poses'

For the next three Thursdays Paul Fowler is bringing together two models who will work together on a number of poses. This is a drawing of mine from a few years ago in which I addressed this challenge.
I recall my reflections at the time, one of which was that the special issue of the two model pose was how to identifyy, respond to and capture such aspects as relationship, interface and dialogue. I anticipate that I will learn something of what I mean by this, this next time. I also wish to explore the depths around two concepts, a) we should attempt to draw what we see, rather than the object we are looking at, and b) what we see says something about ourselves.