Some thoughts on what is taking place.........

 ..........................within and during the cognitive perceptual world of my process.

A......I an sensitive to the content of the spatiality encompassing the artist and the model,

and I explore the pose and its parts within the spatiality within the paper.

B......I move back and forth between my subjective perception of the pose, and

an objective spatial organisation in the drawing. [I think I recall this is a variation on a concept from a Jenny Saville exhibition catalogue].

.C......my drawings hold a complexity of ambiguity and are open to interpretation.

D......I am critically aware that there is the drawing and the paper not drawn on.

E......my transformative process is one of figurative reconfiguring.

F......I deal simultaneously with figural concepts, i.e. form, shape, line, angle,

and with spatial concepts, i.e. position, orientation and relationships, such as in front of, beyond, above and below.

I will now enter the weekend of life-drawing with a greater understanding of my confusion.

Mark-making and more

Just been sorting through a stack of my drawings. Some I have retained for my 're-visiting' programme, some for drawing on the backs of next time, and others to go in to the recycling bin. The majority, about 120 are in the third category. 

During this process a particular type of drawing came back to grab my attention (three examples included below) which are focused very much on mark-making and particularly how I have utilised 

(i) a variety of weight of line, and 

(ii) a variety of tool. 

So fine-liner pen, soft graphite woodless pencil, dark (heavy) graphite woodless pencil, and charcoal caressed on the paper with the finger. 

And we see here that 'drawing technique' is very much to the fore, and is clear evidence that the architect within me is still very much up-and-running. Whilst it greatly pleases me that my draughtsmanship skills are evident I can also claim that they continue to evolve. 

It also pleases me that my developments in my draughting technique are fundamentally and systemically integrated and synthesised with 

a) composition within the page, 

b) gestural forms or better said 'forms with gesture', 

c) overlap and superimpositioning whilst enhancing transparency, 

d) an ambiguity, and an initial uncertainty as to what has taken place in the artist's perceptual and selection processes, 

e) a play between a straightforward figurative representation and the often unanticipated arrival and unexpected outcome of an abstract collage of parts, and finally 

f) other fundamental architectural issues to do with  'different scales', 'depth and perspective', 'focus points/areas', all held together and contributing to the overriding concept and qualities of 'spatiality' within a 'spatial composition'.

'

Katie

In a few days time I will be at Niel Bally's where the model will be Katie. Here are some of my earlier responses to her.

Also see my comments re Katie on my previous posting 'Untitled....as yet'

Untitled.... as yet.

Not sure of the issue which this post is to address. Usually I do have something to say, something to explore, something to celebrate. But nothing particular here., at the moment.

Perhaps I just simply wanted to post the two drawings I have been working on and off over the past two days.

Firstly, in connection with the next 3-day workshop at Niel Bally's over in Talgarth, Powys (February 8th-10th) where our model will be Katie, who I have drawn over a number of years. I love drawing her as like most of our models she has a real understanding of her role in the process which model and artist generate and then both creatively participate in. So I looked back through my responses to Katie and selected two A1 drawings of short quickie poses. Placing the two together to form a dancing group I got out my pastels and started playing, trying to decide how far to go in separately distinguishing between the figures. I did intend to control the tonal range, keeping things on the cool side. I made reference to some of Auguste Rodin's waterclour drawings which I have been studying following my request to a family member for a Christmas present [Auguste Rodin, Erotische Aquarelle, published by Schirmer/Mosel, 1995]. 

Prior to starting I place my thoughts in my note book: 

"dark, red or brown hair, contrasted with subdued 'quiet' colouring; perhaps - a blue plinth or green; transparency of applied colour essential in order to retain 'line'; subtle variation of colour/tone between different figures"

This work can be seen as part of my 'Revisiting Programme' and is number 53 in the series. The last one, Number 52, was posted three months ago on October 13 2024.

 53

The second drawing is one of those which, upon viewing it again after a break, I found most difficult to fathom out the original situation. It was clearly a compilation of parts of more than one pose, but how many? I initially though I located seven parts, but was unsure about this. So I compiled an analytical chart in my notebook (see below) and concluded there are six parts, which are likely to have appeared from six (quickie) poses. In the end it does not matter one iota, as the aim is now to a) identify each part and by choice of colour to give it a roll, and an identity, in the new composition, b) to pursue my 'Picabian' approach by maintaining transparency, spatiality and depth, through overlap, and c) whilst allowing the beholder to follow the original line drawing, transform the work into different genre.

 54

 

I could have written this yesterday

This from November 2015. So, we see that little changes...............

 "I am grappling with a number of issues currently, which find expression in these drawings: 

(i) seeking tonal variation through the use of line, 

(ii) foreshortening, aided by exaggerating that which is nearest, 

(iii) utilising soft or lost edges to help the focus on my selected area of interest, 

(iv) when presented with a pose, deciding quickly what it is that challenges, then starting to explore that interest on the paper. By this I mean that I instantly set in motion my perceptual-motor response mechanism. I look, I see, I feel. I then somehow transfer my feelings, through my hands, through my pencils, on to the paper. I then become immersed. I enter a meditative state. I then begin to respond to the marks that are appearing on the paper. From here on the drawing evolves: part sub-consciously, part consciously."

Economy of line

I'm starting the first morning of 2025 with a look back at a few of my minimalist responses. And recognising the fundamental part that line plays in helping us to see what we are looking at.

Roman amphitheatre in El Djem, Tunisia.

Cathedral at Santiago de Compostela, Spain.

Wildebeest in Namibia (composed from a line of 14 as they walked in front of me).

Dangling foot from Extreme Poses in Stroud.

Water buffalo in Botswana.

From my notebook

A few 2 to 3 minute sketches to use the time either at the end of a pose or when Annie is stretching between poses or a quickie pose.

A quickie pose leaning forward with hands on chair and platform.

Another quickie.

Leaning over with fingers touching toes.

Hand grasping foot.

Curled up sitting on hands and feet.