tomwoodartist

Life Drawing Thursday 23 February 2012

A Cup of Tea with Freud Bacon by Chris Fallowfield

In less time than it took to boil a kettle unwatched, Tom had completed the washing-up, summarised the respective approaches of Lucian Freud and Francis Bacon in portraying the Human Animal, and bloodied me as this week's Redbrick Blogger. In the words of the great Captain Beefheart: "Fast! Fast and bulbous!". Truthfully, I didn't take much persuading to become the next to risk the accusation of being "inebriated by the exuberance of his own verbosity."
So here we were, human animals gathered again, (predominantly middle -aged, predominantly middle-class, but human animals nonetheless). Making our social noises: some murmuring sweetly as doves, the occasional hoot, as of an owl; the distinctive bellow of an over-exuberant corncrake. And now, here we all are in the ritual semi-circle, surrounding another of our species who has divested herself of all clothing, and is now assuming an improbable posture which she will try to maintain, motionless, for the remainder of the evening (by which time we shall all be two and a half hours closer to death). Should one recognise this passage of time in our work, or continue as if the universe was temporarily motionless?
At this point, I shall refer shamelessly to two favourite artists who come close to achieving the impossible, conveying a sense of time passing in a still image. Bonnard, also known as God, does it by never allowing our eyes to rest upon any shape which does not melt into another, and then another. One feels as if one is entering his garden or dining room again and again as if for the first time. Hiroshige, in an entirely different way, puts us at ease in a beautiful formal scheme, but directs our gaze at subtle elements of movement: rain falling, people walking, smoke rising, so we feel as if we were witnessing something like a film.
One method of working that acknowledges time as an element is the inclusion of vestiges of previous work. Tom has this, this week, with an early cubist head superimposed, halfway to the demi-monde of Les Demoiselles d'Avignon. Sandra's painting (my favourite of the week) is a veritale Pompidou Centre of exposed construction, but also manages a tremendous pinioned arm giving support to a subtly inclined head. Fiona has an aerialiste just prior to donning feathers and spangled costume: I love it! Peter's discipline in making his own style is now enabling him to use it more expressively. Personally, I struggled to make a virtue of lack of lighting by contrasting the body as a whole with "background", but ended with a crude, nonedescript attempt. But loved the being-there, the looking-forward-to-being-there-again (he squawked!).

Paintings and drawings by Barry, Chris, Fiona, Hadyn, Kate, Neil, Patrick, Peter, Roger H, Roger S, Russell, Sandra, Steve, Steven, Tom and Tony.

Life Drawing Thursday 16 February 2012

LIKENESS; FURTHER THOUGHTS ON THE HOLY GRAIL by Russell Lumb

I had intended to contribute to last week’s blog discussion on the subject of likeness, but, having drafted a careful comment, I was summoned to dine before well-done became cremated and found that the comment feed had timed-out on my return. This may be no bad thing as yesterday’s visit to Redbrick allowed ample time to reconsider this matter “in play”, as Ray Winstone would have it.

Putting aside the special circumstances of commissioned portraiture, where the sitter will usually require and expect a likeness, with every intention of demonstrating the achievement to anyone willing to look and listen , Chris’s original query concerned work undertaken in the Life Studio. Although I am sure that the question of likeness recognisable by a third party, versus expressive interpretation, was rhetorical , it is interesting to explore the generators of this urge to capture the sitter in two dimensions (or three, in recognition of Fiona’s modelling).

Rachel is a very memorable model with several permanent labels to identify her. But we humans have a remarkable facility for the assessment, storage and recall of facial features, and I think that we all use this particular attribute to catalogue others, and, most significantly, to process images of acquaintances.  I have always valued the making of a good likeness, irrespective of the technique or degree of detail, because it is the most demanding task of our hand, eye and mind coordination, and is subject to highly critical assessment by any observer . “It  looks just like her” is the equivalent of the pat on the head rewarding a dog for retrieving yet another ball; pointless but intoxicating.

Tom had suggested for the afternoon painting lesson that I might make a couple of generic head images, onto which I could paint Rachel’s portrait in the evening. This immediately established the difference between any old head and a portrait of a specific individual. This was to be a picture of Rachel and I was accordingly focused on transferring what I could see onto the prepared ground. The vigorous treatment of rich colours, and the larger-than- life scale suited Rachel’s strong features and ,eventually, I had a recognisable, if somewhat caricatured portrait. This morning, I can see several areas where I could make profitable improvement but I remain content that this is a portrait of Rachel using paint and pastel in an expressive manner. This balance is ,on reflection, what I aspire to achieve; one of many recent reviews of Freud’s work noted that “ you are always aware of the paint first”, and I would like that to be true of my work.

So the pursuit of likeness is both innate and premeditated but , surprisingly, is not functional in transferring recognition to others. In most cases, when the work is complete, it will stand alone irrespective of its likeness, and that, I think, is how we should view this matter. Pursue the illusion, enjoy the occasional success, but make sure that the finished work is interesting as a painting or drawing, because that is how the majority will consider it.

It is not difficult to recognise Rachel around the posted gallery; how many tattooed, naked girls climbing through a wooden set square did you see last night? But, surprisingly, the number of works which would allow accurate recognition in six months’ time , without the aforementioned tags, is very low. Full marks to Sue in this respect, although the entire gallery proves my conclusion that an interesting, expressive work does not require subject recognition to be successful .   

Paintings and drawings by Abi, Barry, Fiona, Haydn, Ivan, Neil, Patrick, Peter, Roger H, Roger S, Russell, Sandra, Steve, Steven, Sue, Tom and Tony.

 

Life Drawing Saturday11 February 2012

Tessie by Roger                                        Tessie by Patrick

The Field of Dreams by Tony Noble

Yet another new model today, Tessie, recommended by another of our super-models, Sue Vickerman. I sometimes think of our big studio at Redbrick as our Field of Dreams - we built it (well, we cleared the crap out of it) and they keep coming. Tessie was great! She held the pose brilliantly, hardly moving at all, and went straight back into her position after only two breaks through the whole day with unerring accuracy. She looked wide awake, alert, purposeful and was thoroughly professional. The only disappointing aspect was hearing that she will only be staying around these parts until late May when she will conclude her studies and set off for the Middle East. Thank you, Tessie, and I hope we'll see you as often as possible between now and your departure.

Once we started today I was confronted by the image of Tessie in front of the geometric-patterned backdrop. Thankfully the dark circles in the backdrop introduced some contrast into what was an assembly of tones which can only be described as close. So, there was my challenge for the day - to make and image which explored this narrow tonal range, yet to try and introduce some drama and interest through the use of the backdrop. As ever, the result was clumsy and rather disappointing, but I did enjoy the challenge and feel that I learnt a lot from it. Sometimes I start the day as if I'm appearing on 'Stars in their Eyes' - today Matthew I am going to be Lucien Freud! - ridiculous I know, but a fun way to begin. When I arrived home I had a delivery from Amazon, 'Lucien Freud Portraits' by Sarah Howgate, the catalogue of the current exhibition at the NPG. I've now spent the last of my Christmas money but am pleased to have waited for something good to come along rather than wasting it on something I neither needed or wanted. It looks great and I can't wait to get into it before I go to see the exhibition early next month. Looking closely at the pictures in this book it is clear that even a painter of Freud's stature struggled with certain passages in his work. As all of us do, I don't think he ever found his work easy - it's a constant struggle, a hard, difficult road to tread, but that's what makes it so appealing, so interesting, such fun!

One piece of work really stood out for me today, and that was Steven's painting. A beautiful, small study in oil paint, subtly exploring that delicate tonal range I had hoped to master. It's the way the delicacy is managed that really appeals to me. Steven creates a beautiful equivalent of something which in itself is intrinsically beautiful. I think the same could also be said about Roger's (The Stalker's) lovely drawing. Sometimes, sadly I think, we shy away from beauty as though to appreciate it openly is to be somehow 'soft'. Embrace, enjoy and celebrate whilst we can!

Looking forward to Thursday now with model Rachel. Many of you have worked with Rachel before but I was away when she last modelled at Redbrick so I'm really looking forward to another new challenge.

I'll end with a reminder about our forthcoming specials:-

Saturday 17th March, Costume Day with model Fiona - only 2 places left.

Sat & Sun 14th & 15th April, Two Day Life Drawing with model Suzi - only 2 places left.

Please let me know as soon as possible if you want to bag one of the last remaining places as when they're gone they're gone! mailto:tony.noble3@ntlworld.com

To Pounce or to Stalk, that is the question by Tom Wood

As those of you who are regular readers of this blog might know, I do like to compare and contrast whenever given the chance. It could be seen as a cheap device often used by the lazy writer or as a method to reveal some elemental truth only revealed when two apparently divergent opposites are yoked together. This week for my sermon I've chosen two drawings depicting the head of Tessie our new and excellent model. They could be a before and after from some face-lift ad such is their difference, but more correctly they show two very different approaches to the same subject. One I would like to think of as the 'Pounce' and the other as the 'Stalk'.

In the Pounce as demonstrated by Patrick, the artist makes big decisions, there is drama and contrast, the artist is hoping to solve their visual problems through a series of bold actions as though leaping from one stepping stone to another. Balance is precarious, each leap demands bravery and decisiveness, one slip and a drenching is in the offing. This method of working is best exemplified in the work of David Bomberg and his pupil Frank Auerbach, it's expressionist and bold, images are built up through a series of large marks layered one on top of the other. The work, drawing or painting is the evidence of a passionate search for the essential truth of the subject, the work is the detritus of that journey. It is rooted in sincerity and a scorching honesty where no prettifying or cheap artistic tropes are allowed, it's not easy but when done 'properly' (not as a stylistic mannerism connoting sincerity) then it is powerful and hard to ignore.

The Stalk as exemplified in the work of Roger, is a different beast entirely. It is ordered, thoughtful, small, cautious decisions are relentlessly piled one on top of the other. It's medium is the small brush or the sharp pencil, detail is sacrosanct and time is required as it cannot be rushed. There is something relentless and inevitable about this method, the result rarely surprises but it can impress with it's diligence and persistence. The skill, (for it's sub text is a homage to skill), relies on all this detail making a meaningful whole and therein lies the art. Peter Blake in his legendary Self Portrait makes a clever reference to the role of detail by leaving parts of the painting unfinished, literally unfinished as in time ran out. The unfinished areas allow the fine detail to glisten like diamonds in a mine, we value them more for their rare fragile delicacy. The Stalk once turned on can be a relentless machine piling detail upon detail like a crazed Victorian miniaturist, the art can so easily be suffocated into submission by the insistence on skill and skill alone.

You can probably guess where my preferences lie, what about you, are you a Pouncer or a Stalker or maybe a bit of both?

 

Paintings and drawings by Abi, Barry, Cathy, Chris, Fiona, Sandra, Steve, Steven, Sue, Tom, and Tony.

Ps. talking of Peter Blake, Chris was so inspired that he made his version of the Sargent Pepper album cover using original drawings from previous life drawing sessions! What a great idea, next week I'll show you how to turn all those pesky old vinyl records into attractive plant pots by using just a simple blow torch!

Don't forget

All Day Saturday Life Drawing tomorrow

with new model Tessie - starts at 9.30am

Life Drawing Thursday 9 February 2012

detail of Richard by Tom

An Intimate Gathering by Richard our model for the evening.

I may have commented before that modelling for Redbrick is a tough gig. This time it wasn't the pose (of which more later) but the anticipation. All day the weather forecasts had been predicting ice, snow and freezing rain from about 3 o'clock.

I was busy at the 'day job' until after 4 over the other side of Leeds, and had spent much of the day fretting about the journey - especially knowing how twitchy some regulars would be after the postponement of last Saturday's session due to snow. I knew I couldn't let Tom and Tony down.

In the event the trip was straightforward, much to the mounting disappointment of the presenter on Radio Leeds who was clearly pigged off that he didn't have white hell happening on his watch, just a bit of sleet. But the fear factor meant I arrived much earlier than usual; instead of walking in to a purposeful buzzing and clacking of setting up for a session I hit 'tea break' for the hardy souls who spend the afternoon in Tom's painting class before the hired help pops in to model for life drawing.

They're a friendly bunch, and I got chatting over coffee. Suddenly Steven, Roger, Sandra, Tony, Tom and Fiona were people, not names against great art on a website. Cathy and Neil joined us a bit later. That was it; a small, intimate gathering of eight artists and a model.

Coffee and a Kit Kat before starting work meant the session felt subtlety different up under the lights. Tony had decided on a seated pose; first time at Redbrick for both of us. But once the session started I felt much more conscious of the gaze of the artists than usual; it was Sandra (or each of the others... ) and Richard, not 'random artist' and 'anonymous model'. This feeling of scrutiny wasn't unpleasant, but it was different. Makes me wonder what it must feel like for the model in a one-to-one situation, something I've not as yet experienced.

Of course the personal observation was reciprocated. I had the opportunity, more acutely than when facing a scrum, to notice at least some of Redbrick's artists as individuals in action.

There was no avoiding Neil; he placed himself dead centre of my gaze. Having situated his easel with military precision he proceeded to work in bird-like manner, head pivoting back and forth between look and mark, the avian impression amplified by the blast from the (much appreciated) industrial heater repeatedly stirring his feathery silver quiff.

Whilst Neil pivots, Tony nods, a rapid up-and-down movement whilst his face contorts with concentration, hand moving urgently over the board on his knee. Cathy, on the other hand, would be great at British Bulldogs. every time I switched attention her way she was in a different posture relative to the easel; but I never saw her move, apart from an occasional step back to check progress (her working had was of course shielded by the easel). Tom sat perfectly still apart from the hyperactive blur of wrist and elbow. He did, however, make his presence felt with an occasional heart-stopping machine-gun rat-tat-tat as he ratcheted the painting up or down on his easel. Roger's clearly destined for Hollywood, a director framing his shots from high and low angles with his hands, then transferring his attention to the work in progress to ensure the perfect vision has been captured.

I had to imagine the others, out of range even of peripheral vision. Steven moved his vantage point at the start of the evening from right flank to left, and I think I saw (or maybe imagined) the occasional flash of a reflection from 'the mirror'. Fiona was opening something cellophane-wrapped at one point, art materials or HobNobs I have absolutely no idea. As a model herself, I often wonder what Fiona 'sees' on the podium. Tonight's was a comfortable pose, but can she sense the stresses at other times when the model is struggling towards the end of a session? Sandra was relatively shielded from my vision further back from the lights, but I was still very aware of acute and professional observation.

The latter end of the session became (and this is British understatement) quite chilly after the heating knocked off; I've never been quite so quick to get dressed, so I've not seen all the work until this morning. I'm just delighted that 'the few' were able to create such amazing work. I gather this week's featured portrait could be joining Tom's 'rogues gallery'. I'll look forward to seeing you all again in April.

Paintings and drawings by Cathy, Fiona, Neil, Roger, Sandra, Steven, Tom and Tony.

Next sessions

Don't forget - the next two sessions are;

Thursday - Richard  6.30 - 9.00pm

Saturday - Tessie (new model)  9.30 - 12.30   1.30 - 4.30pm

Life Drawing Thursday 2 February 2012

If anyone would like to write this week's blog please send your contribution to tom_wood@tiscali.co.uk

Sandra Cowper wrote 'I thought I’d jot down a simple and personal point of view of Thursday evening’s session.

Because I had been creating for most of the day (by that I mean painting - not causing a fuss) I tried to re focus on what I might prepare for life drawing after tea. Perhaps because of the lack of any other imaginative ideas I decided to use up the paint already on my palette along with plenty of white emulsion and to use the big metal spreading implement, which I had already been using and must have a proper name, and spread this randomly and thickly over some free stout grey card.

At present I cannot integrate or combine the two separate activities of working at lyrical abstract non specific painting imagery and the more realistic painting of the human form. They run as parallel activities, maybe they always will or maybe time, continued application and discovery will open up a direction in which they can both play their part.

However back to Thursday evening and Joanne is our model who sits so elegantly impassive and enigmatic with beautiful skin colour and stillness. So in I plunge using the new set of cheap, I mean really, really cheap, acrylics purchased from a well known store.* I have been using these all day but in a different way and the colours are good and bright but I now find that they are not so creamy and spreadable as I would like. However this gives me something to work with and does produce an unexpected texture and effect. I also manage a smaller watercolour and pencil drawing as well as a really quick scribble drawing in my sketchbook.

I did not manage to see what others were doing on Thursday but on looking at the images posted here I am struck by Steven’s painting. I like its unfinished quality, the unidentified anonymous face, I like its muted palette and I like the way it makes me ask questions about it, If I saw this in a gallery without previous knowledge of the model or the artist I would be drawn to it, it would intrigue me it does intrigue me.

Peter’s sketch book studies also appeal to me, they are wonderfully dramatic. They have a flourish and hint of Picasso about them whilst Sue’s lovely painting has a touch of Modigliani.

Russell’s work combines abstract and realism, allusion and illusion, it seems to have an historical, narrative content and it is big. You can stand in front of it for ages and see so many different things, it draws you in and you yourself tell their story or your own story.

These are just the works which caught my attention this week, has anyone else got pieces which caught their eye?

* Aldi or Lidl, Sandra don't be shy, let us into the secret!

Paintings and drawings by Barry, Cathy, Fiona, Hadyn, Neil, Patrick, Peter, Roger H, Roger S, Russell, Sandra, Steve, Steven, Sue, Tom, Tony and Yvonne.

Life Drawing Snow Alert!!

Having just seen the awful weather forecast for tomorrow we have decided to postpone tomorrow's life drawing session until next Saturday, 11th Feb. Hope this doesn't cause anyone any problems, but it would be awful to be stranded in Batley living on coffee and Kit Kats before a return to work on Monday! Hope everyone picks this up in time. Please pass this on to anyone you know who might be thinking of travelling to Redbrick tomorrow. Many thanks.

 With best wishes,

Tom & Tony

The Smell of the Greasepaint

My brother sent me this not long ago to remind me of our glory days treading the boards with the mighty Heckmondwike Hot Tots. This photograph was taken at our grand gala opening at the Heckmonwike Co-op Function Rooms. I can't help but feel it's been downhill ever since - see if you can spot me (or anyone else you might recognise).