I must say quite like this one .. which I fished out while weeding the unruly garden of my old life drawings.. so thought to blog it.. but I cannot remember who it is or when I did it or where... never mind.
A shy model, clearly, but no matter.. what he obviously made us think about was mass and muscle... and given rather a short pose, ten minutes (?) I nevertheless got interested in the complexities of those huge hands and their shadows.. a big drawing, at least A2, done in chalk pastel in 2005 in Nicosia.
A diversion into a drawing from my Academy days in Brussels in which I recognise two hallmarks of that particular studio .. one is our Prof's sadistic liking for setting subjects in or in front of filthy pieces of plastic sheeting - (here delicately interpreted, I must say) and the other is the note of dissonance provided by the skeleton.. just in case we were tempted to turn it into something too pretty.. (model with skeleton, 1998, A2 charcoal pencil on paper)
The same nicely curvy model as yesterday's posting, with Alberto seen at work reflected in the mirror behind her... all that space to fill and I still chopped her foot off... (Chalk pastel on blue paper, A2, 2008)
A chalk drawing made of a pleasingly ample model with reflections in the mirror behind her showing me or one of my colleagues at work... most of my work was on the artist and model theme at the time.
( Chalk pastel on coloured paper, A2, 2008)
These two short poses (A3 charcoal pencil on sugar paper 2009) were probably made in the same series and are certainly with the same model - a very characterful one, whose likeness was one of the easiest to capture. Although likeness is not the object of the exercise, (which is to observe the whole figure), it is always nice when it happens.
A blue one. One of my favourite supports for very short poses is the sugar paper you buy in colourful blocks from toy shops for children's drawings. It has a nice rough resistance and "hooks" chalk and pastels particularly well. However it is much too absorbent for ink. Here are a few chalky white lines on a blue background. The model has a rather masculine look to her shoulders and seems solid without having a womanly voluptuousness... but I cannot really remember the session .. by the time you have spent about 700 hours in the life room you can't remember everything, though it is surprising how much is retained.
These were all from the same series of short poses - draw, turn the page, draw, turn the page .. and above all ...... LOOK! My prof in Brussels said if you have 30 seconds look for 29 and then draw. They are never perfect so it is a good thing you can move swiftly on to the next one.. but don't suffocate the line.. the line must breathe .. that's a tough one..
Ha ha .. a cheeky felt nude is peeping out from the bottom corner.. a stowaway on the Good Ship Blogspot!
A5 size sketchbook. Calligraphy pen and a minute with the model. A satisfyingly ample one to wrap the line around. The challenge is always to create three dimensionality without recourse to shading. Especially when she is leaning over and away from my point of view. Another one tomorrow.
I made this sketch a while ago ... (couple, ink and wash, A5 , 2005) My friend Sheri sent me a beautiful drawing recently and the subject reminded me so much of this one of my own.... then I thought of blogging some of these sketches while I am on the point of getting a studio and getting back down to work again. It will help get me in the mood after too long a break.
This is an "après Rodin" moment of love. If you want to see Sheri's drawing and her wide range of lovely works made with everything from paintbrush to knitting needle visit Everyday Louise by Sheri La...
Trying to get started again .. here's a small nude fashioned in a new medium for me. I have always been a needlewoman and have long been wondering how to build a technique around that and this is a new line of experimentation. I love Tracey Emin's blankets but I didn't want to imitate them .. maybe I can find a way to do something different with this roving wool and a needle combined with other elements. Words, in particular. And needlepoint with soluble canvas, perhaps.. here we go..
I am frustrated with having no studio but this can be done at home without poisoning the family...
This year's resolution is to open my studio again and get back down to work.. watch this space.
This year's stocking went to my brother, who is younger than me, but old enough to have seen the first episode of Doctor Who with those utterly terrifying Daleks. This is one of those original Daleks who now, retired from a long career of frightening children (and quite a few parents) is enjoying a harmless game in the snow and using those guns to shoot nothing more lethal than a couple of snowballs.
His teddy bear is on there too - and his daughter Hannah's guinea pig.. and on the inside? Rather a lot of wine gums.
An ex BBC TV and radio classical music producer I retrained in fine arts in Brussels after marrying a diplomat and going to live in different countries abroad. I have two school age children and a much loved second home in France. My family and friends are very spread out so the internet is very important. Creative life is often compromised but absolutely vital. A reluctant gypsy I am alarmed to find artistic concepts are not as portable as I once thought. The universality of the human figure (my subject) is not helpful enough in the constant conflict of who I am and where I am.