Pambos reclining. (pencil on paper, A3, 2005) A quick study while waiting for Koula to turn up and pose with him. If models as good as this one grew on trees I would start a plantation today.
The superimposition of this 2007 nude study on a partially effaced earlier drawing, (or drawings), gives the impression of a slight, winged creature at rest in front of a domed classical-looking building with another ghostly figure emerging in between. Memory doesn't serve.... but on finding it again I am rather drawn to the vulnerable, hunched, sleeping figure and its flame-coloured background elements.
This was a quick preparatory study for a colour drawing I posted last October. I wanted to go further with it but in the end the pose turned out to be too difficult to hold for the model and he complained bitterly. But sketches like this are also works in themselves. (Nude study, A3, charcoal pencil, 2007) I liked the way the screen and the lantern in the background translated into a sort of landscape..
On a hot Summer morning in France I drew my small daughter before she woke up. I can rather tell from the way I have drawn this that it must have been the Summer I spent reading about Egon Schiele and looking in particular at his drawings and watercolours.. i can also tell from the size of the child .. so probably 2004. I am off to England for a few days.
Titi, so called because of his man-boobs, (unfairly in my view), is here seen at work, (Titi, chalk on paper, A2, 2007). I am also seen at work, a hasty 2 minutes grabbing the nugget of the situation, and his reflection in the mirror is also indicated. A typical Rijswijk moment.
I used to call this technique of white ambiguous layers the "Turkish White Veil of Death" .. I was sort of joking but not any more. Hoping for the permission of its owners I rename this painting Under the Turkish White Veil of Love..... A tiny, tiny, tiny embrace - (watercolour, white oil paint, paper 10 x 15 cm 2005) to put back the clock.
It goes without saying that people who have lived well into middle age have long life and experience behind them with many stories to tell. They may have lost the bloom of youth but the patina of age has its own attraction. To the artist - to this one anyway - older subjects are rich indeed. Their bodies and faces tell stories. I would give half a dozen satin-skinned twenty-something models for this one .. I don't know him, or even his name, but he had a depth that made drawing him absorbing. He would have been extremely handsome at 25 but less good to draw. One can read the story of his life on the lines of his face, and body and all of them suggest subtle things to the pencil. (Man, standing, charcoal pencil A3. 16 04 08 with apologies for the photo) In fact, in other studies where he was facing me, there was a danger of giving too much attention to the high level of interest in his face - craggy but fine - and still handsome actually.
Getting back into training after three weeks away - a couple of quick model studies made yesterday. I was trying some new chalks - the waxy quality of the one I used for the sitting pose appealed to me wheras the smudginess of the conte crayons in the recumbant pose didn't really go my way.
a tres vite
Jane
Ink?! - all I can say is when God created the squid it was with me in mind. You may use what emanates from a squid it to flavour your pasta if you like, but I would rather fill my pen with it.. or whatever derivative of it I am using. This embrace (ink on paper 15 x 24 cms approx 2005) has an intensity but it also has a few infelicities which I think I may be able to recitfy. So I just thought I would blog it now in case I ruin it in the process... and so that that the squid did not die in vain.
I made a number of works following a session with a young couple who posed for our group in Nicosia in 2005. I worked in clay as well and because I was thinking three-dimensionally the paintings all turned out to have a sculptural quality. One of them is the red/blue oil pastel from a few postings back. This embrace is a layered work (Solution 60 x 50 mixed media on canvas) with highly textured white acrylic overworked with glazes. 
A strange erotic scene from my 2006 oil pastel series that never graduated from its boring working title of "Red/Blue". This one was inspired by a very linear drawing by Maillol which had an even worse title (Deeper in). The female figure seems to be in extremes of pleasure - almost disintegrating in the tangle of bedsheets. The dog has a jealous air . The Cypriot shutters have worked their way in to the composition as so often with me. And the dark skinned man with a fair-skinned woman was a combination that interested me at the time. I also made a lino-print of this composition which is somewhere way back down in this blog under the title "After Maillol and Picasso".
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