A New Year in Intense Colour

Yellow Figurine on Orange, pastel on paper, 16.5 x 16.5 cm

Due to the nature of the time of year and what it means to be me with my family around me, this little drawing was made over the course of a few afternoons as the light faded, inbetween jobs. I knew that I couldn't include anything living in the arrangement because who knew what time I would be able to snatch. So in the spirit of hope in a new year, my still life was all about infectious colour and an ethnic figurine regifted all the way from Boston via Orlando, one of my newest perfect muses. It is in that parallel universe where all the objects come to life and cavort.

HAPPY NEW YEAR

Looking for the meaning

I attended a brilliant life drawing workshop with John Dobbs on saturday at Heatherley's Art School. John is interested in capturing the essence of the subject .  You can see his work here: http://www.johndobbs.net . The day began with a series of really quick sketches (1 minute timed) where we tried to work intuitively to find a way to indicate what the key element in the subject and pose were.  Richard held a rope, crouched, stretched and I used scrap paper and a stick of vine charcoal to indicate direction. weight, light.  

John showed us some of the artists he thinks do what he is interested in best including Park, Lobdell, William Theophilus Brown, Rembrant - there were about ten.

John wasn't so interested in whether the drawing was accurate but more whether we could say something about the subject that was meaningful.  He had us do an exercise that I won't share as I think doing it is the important thing but it helped me to experience the difference between 'copying' and 'observational drawing'. 

The above drawing was the penultimate and longer than anything previously, nearly an hour.  My goal was to get Richard to READ THE BOOK and to show the mood through his posture.  I like the pieces of the drawings below as I believe them too.

At Sudbury life drawing I decided I needed a colour fix so only used pastel for the two hours. What I wanted to address was combining light and colour more effectively.  One of the stand out messages in the workshops has been YOU NEED MORE DARKS. The last drawing, the one at the top may be more effective although Pete's left thigh doesn't do what it should.  I like the gesture of the three last drawings.

I was still a little sick when I wen to my last NEAC drawing school session with Mick Kirkbride on the 24th of November. It had been a long day with visits to the Modigliani and lunch at the RSA with some family friends and Patrick. It's interesting that with a big piece of paper and an hour, I run out of time now.  It's a case of constantly adjusting. I know I need to look more, though.

Last drawing with John Dobbs

John Dobbs with former scholar

And Carol Webb invited me back to a daytime portrait session.  She's had models who can only sit in the evening this term.  David Stone, an artist: http://davidstone-art.co.uk, sat for us for a few hours last Wednesday.  I had planned to paint but in the mad rush from refugees and school meeting I forgot half my supplies so drew instead.

Exhibition round-up

It's been a week of exhibitions with the latest in Bermondsey, London.  Not so long ago I responded to an open call for The Concept Space's Winter Salon. http://www.theconceptspace.org/?exhibition=winter-salon-power-play and was delighted to be selected.  It was the private view on Tuesday so Patrick and I travelled down, arriving first! I had bought advance tickets and for some reason our return ticket was 8:30, so we stayed for an hour and a half but missed KB Stowe's little talk and the performance art. https://www.instagram.com/tconceptspace1/ I met lots of people, including Robert Fitzmaurice whose work was between my two pieces. It was remarkable how well the hang worked.

The weekend before,  was the Heart of Suffolk Winter Exhibition.  We didn't know it but the Bury Free Press did a write up and chose my drawing to showcase.  There were a seasdy stream of visitors and as well as each artist selling something, we raised almost £700 for Suffolk Artlink with our raffle and pop up cafe. 

The miniprint exhibition was in Halesworth over the weekend, but I wasn't able to visit it this time.  Lesley has found a venue in Bungay, so there is one more chance to see the work before the spring. The private view will be 6pm on the 15th.  

But before the Miniprint, it's Colchester Art Society's Winter Exhibition at the Minories.  I hope I have some work in that (not sure yet) but will be going along to the PV tomorrow (6pm) anyway.

Lillias, Andrew and the NEAC Drawing School

We couldn't have had more different models over the past two sessions and my approach to drawing them was quite different too. Andrew struck a standing pose and we all wondered if he could hold it for the hour.  He was defiant and turned out to manage it with ease.  I only noticed his thumb moving back and forth, which I assume was a coping strategy for what must have needed intense concentration.  I wish I knew anatomy as Andrew was an anatomical study, for sure. 

Andrew's second pose was kneeling but the structure of what I saw and drew of his position was similar without being exactly the same.  I was looking down on him a little bit in the second pose. What was fun about drawing Andrew was that he had so much attitude and it was that I wanted to hone in on.

Lillias couldn't have been more natural. Paul was painting a portrait so she stayed in the pose for the whole 1 hr 45 mins. As I look at it, I think that if I'd had time to really look (which is what I should be doing during the tea break) I would have realised that defining the room probably gets in the way of our interaction with the subject. Lillias had some bright light on her cheek that I failed to carve adequately as well.

I intended to move around and do a series of drawings but it's so easy to get carried away.

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Use more paint

It took me a long time to get going today.  I didn't have any success in the pastel society this year and when I was thinking about it, I mused that they don't like flowers.  Of course, we don't paint to to be selected, bought or even cheered on, but it did go through my head that maybe I need another muse.  Hey ho, instead of doing something as controversial as that… I decided to take a pearl of wisdom from Louise Balaam and USE MORE PAINT.  In fact not only did I think about Louise's words, I also thought about Julie Jackson and her playfulness with the materiality of paint, Alex Fowler and his blocks of just the right colour as I began and sustained this painting today.

I would still be painting but it was so dark without articfical light at three that I had to abandon it.  Not only is there a very dark shadow on the white vase, I can't see the colours I'm mixing.  annoyingly, I'm not sure when I will be able to return to this.  In London tomorrow, at a Colchester Art Society Lunch Saturday and then the inevitable massive clean-up that precedes a visit from  friends coming all the way from America.  

What about watercolour life drawings in an altered sketchbook?

Doreen is a special model, utterly natural.  Today she moved around the room slowly with her lavender piece of organza for the first fifteen minutes. I mostly made a contour drawing as she moved - which was confusing. Doing that got my eye in, though, so when we had ten minute poses, I was primed to look with care.

I have never mixed watercolour with pastel before and today it just sort of happened. For one thing, I forgot the pad I had prepared so ended up doing different things to what I had imagined. I forgot my kitchen roll so every mark needed to work. 

Some of the drawings/paintings are on cartridge paper, others are in two of my altered sketchbooks.  The tan pages are watercolour ground over book pages.  The orangey is a pastel ground.  I drew in the wet watercolour with the pastel. It was all fun.

Painting from life with Alex Fowler

Oil on canvas, 25 x 35 cm

Last week I went to Alex Fowler's Tuesday class at Chelsea Wharf.  I was a little late arriving because it is very far from Stowmarket to Chelsea Wharf and there is always a hold-up on one of the trains or the tube.

When I visited Alex in his studio a few weeks before, he talked about not naming parts of my drawings and about his approach to working. We talked a lot about colour. I was intrigued and in the spirit of the NEAC scholarship, signed up. The space is fabulous and Alex has a good group of people on Tuesdays. I slotted in to the third and last session of painting this model, although others painted the view out the window, and set up still lifes to work from too. I was on the darker side of the model and as the day wore on it became darker and darker, so dark that I really couldn't see what colour I was mixing at the end.

As a result, the trajectory of my painting went from excited passages to a struggle between too dark and not dark enough and it changed in colour.  At about 2pm, it was quite muddy but Alex was great at giving me a suggestion and I think I found a way to show the light. I wasn't so successful at adopting Alex' way of working in terms of blocks of colour, though.  At the start I thought I knew what he meant but later when I saw him painting I realised he was talking about much bigger blocks of colour than I had imagined.  He blocks in the big areas of colour and then works to the more specific, finding that sweet spot between too much and not enough information. He feels that correct colour says almost enough about a subject to describe it.  The colour he saw was much brighter and more high key than the colour I saw. Perhaps when we talk about painting the colour we see we are talking about different things?

So my painting has a few places where I like the painting, but mostly just feels boring and descriptive to me.  I don't feel I have got into the emotion of the situation nor created an interplay of light dark  and brushtrokes that is particulalry exciting or original .