tomwoodartist

Life Drawing Saturday 21 & Sunday 22 February 2015

detail by David

 

ART ANGST by David Mace

This weekend we were a very small group practicing our skills with our special model Fiona and our customary dedication. There have been so many searching blogs which review the outcomes of these sessions that it is hard to find new things to say - I think I can safely leave the works to speak for themselves.  So perhaps I might consider my own recurring question about Redbrick sessions  - 'why do I keep doing this demanding and costly business time and time again with all its strains and stresses.?'   I mean at my age I could so easily say -  'enough is enough - been there - done that…' as I have done with other activities that were central to my life. To be blunt I spend days struggling to produce my somewhat clumsy images of a naked person which no-one would dream of putting up on their living room wall.  I am coming to the conclusion that Redbrick must be for me some form of addiction therapy group  - AA (Artists Anonymous.) 

So what do I get out of being part of the Redbrick clan?    It's  MAD !

MOTIVATION?   yes -  being elderly and habitually deterred from making sustained efforts I need to be pushed.  I observe the sustained effort which all members of the group demonstrate and try my best to match it. I watch others in the same boat struggling to resolve their own and similar problems and coming out triumphant. The friendly and un-challenging comments offered by other members as a routine component of the sessions is invaluable in sharpening my own perceptions of my work. The creative environment of Redbrick is so much more conducive of artwork than an adapted bedroom - and no domestic distractions. In particular Redbrick gave me a chance to exhibit a review of a lifetime's work in art which enormously boosted my self-respect as an artist.

ASPIRATION?   yes - that is a fundamental value. I want my efforts to seem worthwhile to me and receive confirmation from others who's views I respect. I want to be able to transmit successfully to others the quality of response I get from my encounter with the model.  I get inspiration from artists like Sandra, Patrick and Russell for example who have such a dynamic and expressive relationship with the model and I look forward to their coming Exhibition.

DEVELOPMENT?  yes - I want to practice my own skills and learn new tricks from my fellow members in the group whom I respect. I want, even at this late stage, to see my work developing to avoid that repetitious and enervating production line which is beginning to dry up. I'd like to not be afraid to lose what I've done in a painting by pushing it forward in a fresh direction even at the risk of destroying it.  It is an extraordinary privilege to watch Tom performing his magical trick of transmutation of image  - now you see it - then look again and it has become something else. I can't wait to see his forthcoming major retrospective and be able to say "I saw him do that…"

 Finally, with retirement denying me the active role that art afforded me throughout my working life Redbrick lets me still feel part of the scene - however small that role may be. Thank you Redbrick.

 

Paintings and drawings by Cathy (Day One and Two), David, Gerry, Ian, Jane (One Day), Sue, Tom and Tony.

 

Life Drawing Thursday 19 February 2015

Roger by Sue (detail)

 

Paintings and drawings by Catherine, Dick, Hadyn, Ian, Jane, Roger H, Sandra, Sue D-Y, Sue, Sumi, Tom and Tony.

Life Drawing Thursday 12 February 2015

Jaz by Jane

 

I recently watched the video (circulated by Tom) of the Perceptual Painters from Pennsylvania for the third time and I want to use the blog this week to try and explain – at least to myself – why they have such appeal for me.

Painting is silent poetry. Apparently these are the words of Plutarch, but I didn’t know about this ancient link between poetry and painting. One of the perceptual painters talks about ‘the search for poetry in a direct and unmediated experience of looking’ and it struck me as an insight worthy of more thought. The artist also described the group’s shared preoccupation with painting from direct observation which I am now increasingly drawn to.

 I am sceptical about the value of using photographs to inform painting.  I recognize that they can enhance observation along with drawings, sketches, and memories but in my experience they are more likely to get in the way. The state of mind where we can make fullest use of our intellect, emotions, sub conscious and imagination is elusive and precious.  The haiku poets would describe it as an almost meditative state.

The Pennsylvanian painters talk about painting as a journey towards a meaning that is not known in advance. They describe the creative process as an encounter. The artist is excited about what she is looking at and the response starts there, in that moment of time, rather than being dominated by a predetermined intention. Because the encounter is a dynamic in ‘real time’ the excitement is always accompanied by risk and therefore requires courage.

It didn't mention in the video whether these artists also use spatulas (see Tom’s last blog) but what they do have is a joyfulness about the way they use paint.  And that pure pleasure in discovering what paint can do permeates their work. They come across as a refreshingly unpretentious bunch and seem happy to let their work speak for itself.

What light can these perceptual painters shed on our representations of Jaz?.  In one life group recently, Jaz strolled around the room playing his guitar and singing. He is a talented and aspiring musician with very few opportunities in the current economic climate to fulfil his dreams and I always admire his professionalism, good humour and dignity.  I love painting Jaz.  Our collective representations indicate that many of us do.  And consequently I think many of our paintings and drawings have a ‘realism’ and immediacy that irrespective of actual likeness communicate a convincing symbolic shared humanity.  That’s where I begin to glimpse the poetry. In this vein, I particularly like Sandra’s sensitive and powerful drawing and the way Roger H has captured Jaz’s compelling combination of delicacy and strength. But then I also like Alex’s Jaz who appears to be hewn from stone and the electrical charges coming from Beatrice’s  Jaz; and then Catherine’s use of colour reflects a multitude of moods.   I will now forego the temptation to make a spatula joke and simply say I think Tom has caught the most complex and fleeting look of amusement in the moment, with the most luxurious and joyful use of paint – unpretentious poetry indeed.

by Jane Storr

 Paintings and drawings by Alex, Barry, Beatrix, Catherine, Cathy, Charlotte, Dick, Hadyn, Patrick, Roger H, Roger S, Sandra, Sue, Tom, Tony and featured artist Jane.

Latest Calendar

Here's an updated life drawing diary for the coming weeks. Please note there are still a few places available for the 2-day session on 21st & 22nd Feb. If you would like to join us please e-mail or book online at the Online Calendar. There may be an opportunity to join us for just one of the days, but please remember that numbers for these sessions are limited. If you would be interested in one of the days please let me know so that we can manage the numbers. Thank you.

Booking is also open for our first Portrait Day of the year on 21st March. Again, numbers are restricted to 10 for this session, so please book online or e-mail if you are interested.

Thursday  19th February	Roger
Sat & Sun 21st & 22nd February 2-DAY	Fiona
Thursday 26th February	John
Thursday 5th March	Joseph
Saturday 7th March	Kay
Thursday 12th March	Steve
Thursday 19th March	Lynlee
Saturday 21st March PORTRAIT DAY	Chris (new female model)
Thursday 26th March	Roger (not farmer Roger, the other one!)
Thursday 2nd April	Helen
Saturday 4th April	Jaz

 

Life Drawing Saturday 7 February 2015

Becky by Russell

 

MOMENTUM by Russell Lumb

 Most activities benefit from a little forward motion; success breeds success whilst inertia kicks its heels until something kicks its arse. Perhaps we are only issued with a set quantity of momentum, and mine is currently deployed entirely in preparation for the next Redbrick show, with Sandra and Patrick, in April ( more of that later ). My life painting is now reduced to the monthly Saturday session, which is sufficient to maintain continuity, but unlikely to encourage significant forward motion. At least, the six hour session allows its own internal learning curve, and I am reminded, by the end, of what might be achieved next time. Unfortunately, this curve will be re-traced in March, with the same conclusion.

Away to my left, however, works a man whose current momentum is a joy to behold; some months ago, Tom announced that he had commenced a long term project, to make his life study an integral part of his painting, rather than a distinct “training” exercise. And we have been privileged to witness the disciplined application of his stage painting plan which now has tangible momentum, delivering rich outcome in the first, completed works. The making of these paintings follows a sequence of pre-determined steps, employing a fixed core of materials and techniques, but they are not “formula” paintings because they have at their heart a unique life session, and the discipline of the sequence allows all effort to go into the physical act of applying paint to canvas. The momentum of the whole project, the growing body of work, now carries Tom forward, youthful vigour and enthusiasm regained. This will be quite some show when it eventually comes together for public exhibition.

What can we learn from this? Almost everything that is important in making art, is the answer. Without actually being told how to do anything, anyone with eyes and half a brain can see the essential ingredients of profitable practice; native ability will take you so far, but hard work developing manual skills, forethought, patience, perseverance and humility are all required to create the momentum which will set you free. The scale of commitment required has been demonstrated over many weeks, and we must all accept that there are no short-cuts to success, although it is equally true that not everyone is able or willing to invest so much effort. Which brings me to the group’s output on Saturday.

New model Becky provided a welcome break from the familiarity of our regular sitters, guaranteeing that I would spend the day chasing a likeness. Becky sat very still and returned precisely to her position after each break; an aura of tranquility filled the studio, much more conducive to inertia than momentum. Sure enough, the gallery shows a predominantly muted, contented palette, with only Jane using bright colour, although much reduced from its early stages. It would have been interesting to see more of the colour retained in the head, perhaps? Janet’s surreal, chocolate brown Becky is also set against a colourful backdrop but seemingly immune to its influence.

Dick didn't really know if he was coming or going, having just stepped off a plane from Australia, but Uluru had left its mark in the red dirt background to a a very convincing gaze. Cathy introduced momentum with her two Frink-like figures, dancing across the paper, and Ivan’s very selective draftsmanship was well-suited to Becky’s stillness. My favourite , however, from another artist showing gathering  momentum, is Gerry’s Gauguinesque Tahitian Becky; lovely composition, subtle colour and a real sense of mystery. 

Paintings and drawings by Cathy, Dick, Gerry, Ivan (+detail), Jane, Janet, Jean, Tom (+detail), Tony (+detail) and selected artist Russell.

Life Drawing Thursday 5 February 2015

Kay by Sandra

Paintings and drawings by David, Hadyn, Patrick, Roger H, Roger S, Sue, Tom, Tony and selected artist Sandra.

Life Drawing Thursday 29 January 2015

Fiona by Ivan

 Well, OK can we at least agree that I didn't mean to do it, surely we can settle on that. I know it's my painting and OK technically my hand held the brush and yes there was a spatula involved, yes it was that spatula, the pink Jane Asher one, there are only two so I suppose it's not that hard to pick the right one. Yes I do know spatula and brush are an odd combination when outside the kitchen and no it wasn't a joke, paint can be like butter, no of course I've never spread paint on my toast, not even yellow paint don't be stupid, why would I do that for heaven's sake. Look a spatula is just another useful tool an artist can use, like any other scraper, like a wallpaper scraper come to think of it. Look artist's just do that sort of thing and if you were an artist you would know and you wouldn't need to ask, OK.

Right can we start again and at least agree I didn't mean to do it, it just happened. Yes I do know Fiona and no we have never fallen out and yes I do have some empathy for the 'victim' as you like to call them, I prefer model but maybe we will have to agree to differ. Fiona is indeed a woman and no I do not prefer to paint men and it was an accident OK, I know it's my painting and I held the brush and brandished the spatula, responsibly I hasten to add, but sometimes these things just happen and I don't know why and I never set out to swap the gender it just kind of happens and no I wouldn't like it if it was me and can I just say I'm sorry  and can we just agree it was an accident.

No I am not a fan of Nick Robinson and of course I've seen him on TV, well of course it's been a number of times, you can hardly avoid him these days but no I am definitely not a fan and I have no rational explanation why I painted him, of course I could blame the spatula, it would be easy to blame the spatula, the spatula probably was a contributing factor, yes the spatula was tricky to control and I suppose I would call myself a learner, but then aren't we all learners, surely we never stop learning. Technically yes you could call me a learner, technically yes the Jane Asher spatula is tricky to use because of it's springy end and no I wasn't aware of just how tricky a springy end can be especially to a learner barely able to handle such a sophisticated spatula and yes it's definitely within the realms of possibility that a dodgy spatula  might, lead to a female model being transformed  into a painting of Nick Robinson but can we just agree the whole thing was an accident and yes I promise it won't happen again and yes you're quite right I need to practice a bit more before I take such a powerful spatula out for a spin again. Of course now I realize people can get hurt but honestly it was just an accident and touch wood it will never happen again, I've learnt my lesson and now I just want to put it all behind me and move on, thank you for giving me this opportunity to explain myself and yes you're quite right such an offensive painting is probably better off destroyed, I'll just get my spatula.........

Paintings and drawings by Haydn, Ian, Isi, Sandra, Sue, Tom (1 & 2), Tony and featured artist Ivan.