The instruction was to work from the centre of the body out. The poses were designed for foreshortening and perspective. It was an exhausting session. I concentrated very hard and worried over the relationships of specific points to each other. The hip to the belly button. Occasionally I became self-conscious and started to assess how well the drawing was going. I have proven many times that this is a mistake and that clearing the mind to focus solely on looking is a more productive and satisfying way to go. As usual an inner voice argued with Alex’s guidance. An innate resistance to authority has been a constant Achilles heel, getting in the way of embracing and learning from leaders and teache
rs. I thoroughly respect both Alex and Tania, so maybe now I can ditch this unhelpful response. I had no interest in looking at the drawings when I got back to the studio with them. It would be several days before I unrolled them and selected a couple to put on the wall and critique. When I did I was horrified at the inaccuracy of one shoulder but generally fairly happy with the results. Working in charcoal and rubbing out seems to be a very good way to go. The malleability of the marks allows many adjustments and over drawing.
Introduction to printmaking; – Mark Hunter gave us a tour of the print studios. I found it difficult to stand for the duration, so I grabbed a chair. When I asked about how my illness might get in the way of print making effectively, Mark said that the technicians would help me but not to do outrageously large or heavy-duty work. Immediately my inner child started dreaming of the biggest heaviest prints I could make.
I think that I would like to take an image (drawing) and take it into wood block, stone litho and one other medium. Perhaps etching?
But what????????
Missed a lecture by Prof Sir Geoff Palmer on Scotland’s links with Slavery because I was watching the yoga. I will revisit and catch up
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