tomwoodartist

Life Drawing Thursday 16 May 2013

What has Health and Safety got to do with creating a painting? Well it’s usually a pretty safe endeavour to undertake but apparently not so if you follow the official guidelines of H & S (short for hair and splitting, probably another perilous task!)

This week I had the desire to join two used canvases together so that they could be re-born in the form of a long narrow format and to do this I simply needed two strips of wood about 30 inches each. However on my visit to Wickes I discovered that the strips were about eight feet long and not likely to fit into my car. I naively presumed some obliging assistant would be only too pleased to saw them in half for me like ironmongers shops always used to do before H &S was discovered. Well of course the world has progressed since those days of yore and, due to ‘Health and Safety’, workers are not allowed to saw wood they are only allowed to sell it, even if you can’t get it into your car. What if you were travelling by bus? Imagine!  

However they do allow you to carry this unwieldy, long strip of wood around the shop, narrowly missing poking out other customers’ eyes and knocking over shop displays like a Frank Spencer re play.

Being of a creative nature I solved the problem by purchasing from them a very cheap small saw then I sallied out of the shop wishing I dare sport my wood in a javelin throwers stance and hurl it across the car park to land inches away from my car. Thinking this might be an overreaction I reined in this response and proceeded to hunker down on the pavement knee on wood saw in hand and I cut the thing in half.   Simple!

Problem solved, that is until I later fastened the canvases together, quite a neat job I thought, no problem there. Then I became a little more ambitious and decided that three canvases would be more appealing and meaningful than two and the wood was not really fit for purpose, it needed to be thicker and more robust. With this in mind I am planning a visit to Howarth timber within the next few days to see whether they are prepared to live life dangerously on the edge and cut me some appropriate pieces of wood. In the meantime my little saw remains in the car boot if needed along with my wellies, a garden spade, chicken manure, and other miscellaneous objects on which a risk assessment should probably be carried out.

All this has almost made me cautious, I even had to think twice before sharpening my pencils for life drawing last night, but then, I reasoned to myself, I cannot do with living my life by artificial rules which steer us on tram tracks towards a set goal with no divergence and no danger. That so applies to art as well as to life. If we curtail our actions by what an artificial rule says we can or cannot do then we sweep up spontaneity, cut off intuition, close down imagination and pour away possibilities.

In life and art some rules are made to be broken, we can ignore convention and safety; go for the bold, adventurous, yes and even dangerous. We are wielding a paint brush or a palette knife not a sharp tooth edged saw. How unhealthy and unsafe can it be, we can’t lose a pint of blood or a limb doing it, unless of course we decide to flout our brushes swinging from the rafters or something? Ooooerr that’s an idea could make for some very interesting marks!

After saying all this I think mine was probably one of the safest, most conventional drawings last night and everyone else was ten times more adventurous than I. Well done you all and many thanks to Justin who always makes a most interesting subject.

by Sandra Cowper

Paintings and drawings by Cathy, Chris, Dick, Ian, Jane, Janet, Patrick, Roger, Sandra, Steven, Sue, Tom and Tony.

 

COURSES WITH TOM WOOD AT REDBRICK MILL 2013

 

Life Drawing Thursday 9 May 2013

 

I've come to the conclusion that sitting down whilst drawing is a bad thing, well it is for me. When semi-recumbent in my ergonomically, lumbar supported, prize winning chair I find myself bewitched by detail and seduced into slumber, my critical faculties go into sleep mode and the drawing drifts into the Bermuda Triangle of Accuracy, proportions are adrift, the red lights are flashing but sadly this pilot is asleep at the wheel (ah, how I love to mix a metaphor in the morning!). I blame it on the chair. Without that sleek, back hugging beauty my old bones would be creaking in protest, so snuggling in for a nice night's drawing is the equivalent of laying on the sofa, lazily flicking round the channels, relaxing but unproductive. The chair has made me bone idle, my bone ogling has taken a back seat and the clue is in the forearm. In my drawing the forearm is too long, had I stood up and had a good squint, it would have been obvious but in the soporific haze of a well supported spine these things get lost. If you see me sitting from now on you have my permission to scold me roundly whilst tapping my forearm, the message won't be lost and once more, I shall join the numbers of lithe upright artists lightly skipping to and from their easels.

Fiona, our excellent model got what she deserved in some fine drawing by Frank, Haydn, Roger and especially Sandra. Returning to her roots, Sandra made a lovely, delicate well proportioned drawing full of sensitive nuances, slight adjustments all made with a brittle hesitant line, a really good drawing. Frank also managed a work of great sensitivity whilst using the difficult medium of pastel, the head in particular is a well judged piece of observation. Although it may appear contrary I often like work that is not academically correct but resonate with history - a grand way of saying they remind me of the work of other artist's from a previous time. Ian's work will often have a touch of the work of Marie Laurencin, in this case the blood red background gives it the appearance of a martyr, a martyr in search of an attribute. It could even be a painting gifted by a grateful relative destined to hang in a church on the outskirts of Santiago, I like work that takes me beyond the here and now. Issy's work has an early twentieth century feel, not quite Picasso but maybe a follower of Gris, an artist trying out modernism whist simultaneously clinging to classicism. I can see it, maybe other's can't, but then again I have been very tired recently, I probably need a sit down in a nice comfy chair....

Paintings and drawings by Carol, Frank, Hadyn, Ian, Issy, Roger, Sandra, Sue, Tom and Tony.

Life Drawing Saturday 5 May 2013

Watercolour and ink painting of Stephanie by Chris F

You can't have your cake and eat it! by Tony Noble

Today's life drawing session was a treat in so many ways. New model, Stephanie, was a delight to work with, and I'm really grateful to Chris F. who introduced her to us. An experienced model, Stephanie settled into a pose she knew she would be able to sustain through the day and sat beautifully. A Slade-trained (that's the art school, not Noddy Holder and his mates!) artist, she clearly knows what this life drawing game is all about and did all she could to help us produce worthwhile results. Thank you Stephanie for a great day. I really hope you will come back to work with us again soon.

In an effort to control the light in our big studio I decided yesterday to re-introduce an old favourite in the shape of Tardis Mark ii. I used to think Freud was mad working at night, but as I got older and (arguably) wiser I began to understand, to see the light! Even with the Tardis there was still too much light, too little contrast, making our job challenging, to say the least. But at least the light stayed constant, and that, certainly for me, was a bonus. Thank you to everyone for managing the limited space and ensuring that everyone had access to a decent view of the model.

Looking through the work I think the piece I would have liked to take home with me belongs to Chris F. It has a lovely lithographic quality to the background which contrasts beautifully with the drawing of the model. It reminded me of a similarly lovely lithographic print which Tom made as part of his series of portraits of Prince Charles. I also like the great economy used by Chris in the way he has drawn Stephanie's body in contrast with the great intensity he achieved in the drawing of her face which seems psychologically loaded. Great drawing, Chris.

A highlight of the day, and one which Tom will rue reading this, was Patrick's birthday cake. Thank you Patrick and thanks to Sarah who did all the hard work baking it. Sadly, Tom, not a crumb survived the day! Patrick and Hadyn share a birthday on Friday this week, so Happy Birthday to you both. No pressure, Hadyn!

Paintings and drawings by Anne, Chris R, Colin, Emma, Gerry, Hadyn, Ivan, Patrick, Russell, Sandra, Steven, Teresa, Tony and featured artist Chris F.

Full Day Life Drawing Saturday 4 May 

New Model Stephanie

Life Drawing Thursday 2 May 2013

ONLY A GAME by Russell Lumb

I am tempted this morning, having just inspected last evening’s painting of Joanne, to reach for the sackcloth and ashes again (although even my sackcloth is looking a little threadbare with constant wearing) but Spring is sprung, and I cannot feel downhearted. I was aware all through the session that I was getting it wrong, ignoring the basics and wasting another opportunity to make a worthwhile image of my favourite model; lovely, gentle Joanne, with rich chestnut hair, creamy skin and the perfect combination of angular bone structure and soft curves. But I must wait now for another chance to nail the masterwork which is in my head, preferably on a Saturday, Tony.

This postponement of the full flowering of latent artistic talent is our constant state. We know that we have it in us, and can even admit to seeing it in others, but we have long since recognised the scale of the lottery which we enter with every painting or drawing. Furthermore, on the rare occasions when we satisfy our own objectives, we usually find that the rest of the world remains, inexplicably, unimpressed. Those of you who have seen Tony’s BP Portrait submission, will have some idea of the pain and indignation he must now accept on seeing the shortlisted works; whilst one is directly comparable to Tony’s subject choice and meticulous technical commitment, the other could easily have been made at Redbrick on a Saturday, and it would not have been outstanding in that company, which is not to denigrate that painting but rather to illustrate the nature of the lottery.

The really interesting point here, to return to my theme, is that Tony was not throwing pots of paint around the Studio, although he has probably had more than one toddler tantrum in the privacy of his own home, but was back in the saddle ready to beat the odds again. Maybe, the anger could be productively channelled by throwing the paint at a canvas – is this how Jackson Pollock got started? - but this would not be Tony.

The ability to face and overcome “failure” and rejection is a vital component of the artist’s makeup and practice eventually allows the professional to maintain an even keel in the roughest seas. Whilst self- knowledge and honesty must be good for the soul, too much flagellation cannot nurture the self-confidence necessary to produce good work, and so we must be able to recover quickly from disappointment. This is what I am concentrating on this morning.

Around me last evening, this theme was played out by the select gathering of old life room hands. Without benefit of the posted gallery to assess where the work ended, I was aware of Steven and Ivan demonstrating the best means of minimising the risk of “failure” by careful planning, measurement and methodical execution. Ivan even extends this firm control to his use of materials, having employed the same 2H pencil throughout adult life. It can probably execute a decent drawing without Ivan’s assistance.

Barry recognised and accepted his initial error of proportion and made a fresh start after an hour. Although I failed to recognise my own error, I would not have begun again and thought that Barry should have “corrected” the error. But, of course, Barry’s work is about certainty of line with no room for the visible search which I value. His fresh start also required him to work on a new, un-primed, sheet of the slippery card which Hadyn had provided; frying pan and fire?

Youthful old hand Tom, slightly behind Barry in admitting “failure”, painted over his rejected effort from last week, thereby destroying the incriminating evidence and replenishing his self-confidence with a strong portrait of Joanne’s tougher sister. Tom has produced some very good paintings of Joanne in the past and can afford to experiment.

Roger continues to walk the likeness tightrope, without safety net, and had at least admitted his error to himself before he hit the sawdust. There is nothing more certain than that Roger will be back on the tightrope next week because he is hooked on the euphoria of success, with which he has more than a passing acquaintance.

I don’t know how everyone else fared at this stage, although I was aware that Sandra had taken up gravestone rubbing as a preparatory process and look forward to seeing the results. Hadyn arrived at the break, for which we must forgive him, having had a long day in London and on the M1, being the sole worker supporting this group of benefits claimants. IDS will sort us out as there is no room in his world for failures. Meanwhile, I am going out into the garden to recharge my batteries in preparation for Saturday at Redbrick, and another chance to make history.

Paintings and drawings by Barry, Hadyn, Ivan, Roger, Russell, Sandra, Steven, Sue, Tom and Tony.

     

Life Drawing Saturday 25 April 2013

Pastel drawing by Roger H

We didn't quite get there, none of us really, we came close, so close we could taste likeness in the air, but no-one, not one of us delivered the coup de grace. Likeness laughed and lived another day. Often likeness is nailed, someone, anyone, gets it bang to rights, we all nod sagely, we agree, that was the one, the one that got likeness. There are craggy footholds and peculiar peaks to climb likeness, ridges upon which hooks can be hung and likeness scaled but not this time. This week we all walked and talked, nodded and whispered, mutterings started to emerge until finally almost imperceptibly it was agreed that this would be the week when likeness slipped away. We had that likeness at our fingertips, we could feel it, there for the taking. At the break there were a few knowing glances, a sly smile or two, a knowing nod, one more hour and likeness would be ours. The minutes ticked by, the smiles slipped, frowns like corrugated card emerged, lips were bitten, eyes squinted, heads slowly shook, the word was, likeness was slipping away and none of us had the answer. We scratched and rubbed, splashed and feathered the paint into delicate submission. We stood up, tilted our heads, cocked our eyes, peered into grimy mirrors, huffed and puffed and still likeness stood aloof, disdainful of all our efforts. Finally as the clock struck nine, likeness departed and we were left with our meagre offerings, some so close as to prompt agonies of self loathing, others internalizing their grief in a ritual of silent mourning embittered by what could have been. A sad few had to speak of it, off load their pain onto the broad shoulders of neighbours. We were as one, a small tribe, a band of survivors gathered on the foreshore, heads bowed in silent commune around a cushion gently indented with the words,, 'Likeness Sat Here'. So near, so distant, so alluring ,so impossible, next week I shall draw hands and finally be free of that bitter mistress, Lady Likeness.

Paintings and drawings by Hadyn, Ivan, Roger S, Sandra, Sue, Tom, Tony and featured artist Roger H.

Life Drawing Thursday 18 April 2013

Roger by Sue and Dick

I feel like Groucho Marx with a quick Hello and Goodbye, as I don't have much time I thought I would just make a comparison between the old and the new and reflect on what might be some differences and what remains the same. First of all let me confess, although I would consider myself a digital native I haven't worked on an i-pad so those of you who have, feel free to correct me if I'm wrong. 

Dick's drawing done in probably half the time than Sue's was made on an i-pad using digital paint tools and light but most importantly in my view, it was completed entirely from observation without any photography at all. I think this last point is important, if my information is correct it's perfectly possible to take a photograph and work on top of the photograph with paint tools therefore making accurate drawing redundant. Some may see this as cheating but I consider it just one more method to develop and expand the possibilities of image making, the 'cheating' comes if the photography is denied. At the heart of this argument is the notion of 'earning' a drawing and the role of honest endeavour. Is a drawing better because the artist made it without any external aids or is the final work the thing that really matters however it is made? In which case if we deny progress and advances in image making are we not just luddites, retrogressive's harking back to a Golden Age' which in truth probably never really existed. Why is a piece of work better because no aids were involved, is a Canaletto diminished because he used a camera obscura? Is the real issue honesty? Are we admiring the drawing or admiring the method by which the drawing was achieved, it's a question worth asking and considering especially in relationship to the life room.

Working digitally may well be easier on one level insofar as nothing is lost, each stage can be saved but on another level the dis-connection from the hand to the mark might be disconcerting, for me this would be the key issue. The notion of touch is important in painting, not simulated touch but actual touch, think of Singer Sargent or Van Dyck and see how their work is so thoroughly informed by the quality of their marks. I can see this so clearly in Sue's painting, especially around the neck area which I think is a tour de force of expressive painting. Is there something about the mixing of colours, the selection of the brush and then the pressure of the mark that can't be reproduced digitally, I wonder, I don't really know but I wonder if that is the case. It would be interesting to see more digital interventions, to see how much further it could go, in my mind I have an image of Picasso playing with an i-pad and as the great inventor it's fascinating to imagine how far he would push it. At the moment I wonder if we are being too respectful of technology and the real creativity will happen when it stops emulating present practices and starts to get smart and dirty with its own possibilities.

Have to dash but thank you to Roger, our model for being his usual inspiring self as demonstrated in the fine work produced by everyone, I'm particularly inspired by Ian's direct painting, Tony's loose (relative) watercolour and Patrick's homage to the graphic novel - be good to see this on a big scale using thick oils or on an i-pad incorporating collaged bits of photography, either or both would be good.

Paintings and drawings by Barry, Catherine, Cathy, David, Hadyn, Ian, Ivan, Janet, Patrick, Roger, Tom, Tony and featured artist's Sue and Dick.

 

Portrait Drawing Saturday 20 April 2013

             

HE WHO DARES by Russell Lumb

My visits to Redbrick Mill, for afternoon tutorials and evening life sessions, have been curtailed recently, and will continue to be, for some time yet. I am consequently more aware of the pace of progress, or lack of progress, in my work and found yesterday’s “burlesque special” particularly frustrating as it exposed old failings, and a not-to-be-repeated opportunity went begging.

The build-up to the event had promised hot stuff and Miss Heidi Claire Blushes did not disappoint; ignoring the warm April sunshine, the inexcusable lack of evening dress and the absence of fortifying spirits, she ground out her cabaret routine before the startled group, accustomed to having their naked flesh served cold and motionless. Although Miss Blushes then took up an appropriately confident, seated pose, the effect of the black and red costume, with the performance finale still etched on every eyeball, promised equally bold, raunchy painting. I will come to the gallery later, but my own response was an immediate flashback – not to the Reeperbahn in 1962, for which I was never convicted – but to the powerful graphic work of FCB Cadell witnessed by the Thursday Group in Edinburgh last year. Flat colour blocks, arch posing and lots of black. ”I can do that”, crossed my mind, and I soon had the bones of a lost Colourist masterpiece on my easel. However, I had not thought to resolve the conflict between Cadell’s crisp graphics and my planned, smoke- hazed, neon-lit cellar bar, and I slipped slowly down between these stools.

I am, by nature and training, a careful plodder; equipped with the ability to recognise the objective and the persistence to achieve a satisfactory result. In the past two years since I began painting, I have learned a considerable number of techniques and responses, and can now think my way through a painting to a reasonable conclusion. This process is inevitably limited by my modest experience but improves with every piece of work. The laws of human biology dictate that I can never match Tom’s collected store of experience and that I cannot, therefore, attain his high standards. But Tom continually illustrates a more crucial ability which lifts any amount of technical proficiency into the realm of serious art, and that is a willingness to take risk, from any level of capability.

You may argue that Tom’s risks are diminished by the depth of his technical expertise, and that similar destructive acts on our part would remain just that, but take note that he does not succeed with every painting, and could be heard yesterday bemoaning the loss of his direction. I hate to enjoy another’s disappointment but there is so much to learn from this situation.  I can either play safe by methodical preparation and careful execution, to guarantee an unremarkable result, or I can go for broke, lift my feet off the ground and peddle like crazy. Humiliating failure, not to mention grazed knees, will ensue, with the occasional startling success. I have done it in the past, watched others do it more recently and expect Tom to do it next time out. Why do I keep having to tell myself, and you, this same truth?

Of all the work completed yesterday, none illustrates my point better than Anne’s Mark Gertler-esque painting, full of colour, artificial light, attitude and shoes. Having admired Anne’s  pragmatism in introducing a single shoe to compensate for excluding Miss Blushes’ feet from her painting, and threatening to steal the device, I was put down firmly by the addition of enough shoes to satisfy Imelda Marcos. Gut reaction transformed into expressive painting! This is the only painting which says more than what we were looking at. Another reaping the reward of risk-taking is Roger, with a beautiful, soulful gaze from an unusually vigorous portrait, whist Sandra manages to harness spiky and feminine together in half a day. Chris F has some lovely bumps and curves, conveying the vital role of the basque. Chris M is at home in the cellar darkness, waiting for the stage lights and Chris gives us another, unselfconscious Mark Gertler; all linear symbolism and compulsive repetition, or was he sitting too close to the introductory performance?

New boy Mike made the mistake of revealing his business interest and could only complete a simple, but striking monochrome portrait in between fending off brazen supply pitches from various, tenuously-qualified cowboys. My advice, Mike, is to change your name to Chris.

Hadyn had trouble concentrating, until Beckford’s second goal went in, but moves another step toward establishing himself in the top flight with this accomplished study. I think that Tom will soon be recommending the taking of risks based on his sound technical competence! Gerry had a real stab at a narrative painting with full context; the beginnings of something more than life study, whilst David quietly reproached Anne for her excessive use of shoes as he drew his own Paula Rego homage.

In conclusion, I have to say that, if Miss Blushes’ magnificent contribution was not enough to prod me into risk-taking, then I have to fear for any further meaningful progress. Perhaps she could do it again next week, just to make sure?       

 

Paintings and drawings by Anne, Chris F, Chris M, Chris, David, Gerry, Hadyn, Mike, Roger, Russell, Sandra, Tom and Tony.

Life Drawing Thursday 11 April 2013

Sue by Hadyn

Isn't it spooky when a prophecy comes true. In my case not entirely true but heading in the right direction. First I have to start at the beginning and our esteemed friend and colleague, Sandra. Last week Sandra had a spell in hospital and began her blog mentioning this unfortunate turn of circumstances, the first few sentences of the blog are automatically uploaded onto Facebook and this is where the confusion occurred. People reading the Facebook entry assumed I had been rushed into hospital and were quick to express their concern, all very nice and flattering but even when told, I was not the one in hospital, some continued to express concern as though my phantom prostration was but a symptom of their perception of my obvious weakness. This led to more protestations on my part of rude health and robust well being followed by tutting and resigned sighing on the part of 'concerned' friends.

With all this behind me I set off to Shandy Hall and my temporary studio and in the space of a few minutes found myself the innocent victim of two vicious unprovoked attacks. Let me explain. As I arrived at Shandy Hall, I parked my car and proceeded to gather together all the things needed for the day's work. Anne (the cleaner at Shandy Hall and a friend) greeted me and we chatted, meanwhile I simultaneously with my hands full wrenched open the passenger side car door. I did this with such impressive manly force that the door gave me an almighty thwack on the bridge of my nose. It's extraordinary what an effective anaesthetic embarrassment is, I felt no pain but slowly the drip of warm blood could no longer be ignored. Attempting to staunch the considerable flow and observed by a mortified Anne, I continued both conversation and manly forbearance whilst clamping an increasingly gory handkerchief to my face and staggered up to the studio.

Despite needing a masking tape and tissue repair to an impressive cut, I placed a large heavy drawing board on the easel. Like a supplicant before an unforgiving god, the board decided to attack and in concert with the car door delivered another almighty thwack only this time to the top of my head. Dazed I looked in the mirror to see a large red mark surrounded by a tonsure of blue pastel, the drawings were fighting back and at this rate hospital was beckoning. Spookily the prophecy seemed to be coming true, anyway I thought I might share that with you in case some of you were worried that my cherubic demeanour will inexplicably have been replaced by a phizog resembling Arthur Mullard!

Talking of Arthur Mullard, I always felt there was touch of the amateur about him and the artworld likes nothing better than an amateur, although rarely are they referred to as 'amateur', more 'undiscovered', 'gifted' or 'naive'. People like the sense of discovery, the feeling that somehow the artist is untainted by 'learning' and therefore closer to their true elemental expressive self. It's a seductive myth and one the media love to repeat and we will no doubt see it pursued once more in the latest art show on Sky Arts in search of the Portrait Artist of the Year. I think I might apply under the pseudonym of Arfur Dullard.

Some thoughts on the work, Patrick's work strangely reminds me of Emil Nolde and I'm not sure why, I like it but it's an odd piece, same can be said for Sue where the dramatic yellow and blue combination has me a bit scared. Ian has improved now he's managing his time more effectively, my advice would be continue with the heads on Thursdays and save the figures for Saturday's, Catherine has done something similar and it really works.Good drawings all round and Roger continues to impress with his effective watercolours. I think Hadyn just gets better every week, slowly but surely his drawing, the mark that is, gets more confident and assured.

I've been reliably informed that the Burlesque Day (Sat 20 April) will start with a performance so brace yourselves and take appropiate medication if so required - you have been warned!!

Paintings and drawings by Barry, Carol, Catherine, Cathy, David, Ian, Ivan, Patrick, Roger, Sue, Tom, Tony and featured artist Hadyn.