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.
