A very interesting day of people having to reassess what to do with a smaller, more intimate space, compared to the huge and complex possibilities at King's Place and its environs. Several people fell into a rather humdrum trap, rather than keeping on creating original ideas. We had discussions about this at the end of the day, concluding with statements like the one from Maggie, whose previous tutor had once said "who's permission are you waiting for?" (or something like that) - meaning that in the end, you only have yourself to let down if you don't push things to new and adventurous possibilities. I also chipped in, saying that I think we have a responsibility, as artists, to find an individual expression - we are not here to re-do what has already been done!
GERALD struggled with the problem above, having been such a star last time ( well, maybe he can't be a star ALL the time!):-
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| Gerald no. 1 |
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| Gerald no. 2 |
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| Gerald no. 3 |
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| Gerald no. 4 |
Gerald's main issue at the begining (drawings on p.1) was that he just plunged into them, without really thinking 'why', and not having any particular statement to make. They are very nice little drawings, but not really much more than that. No. 2 was a very interesting view of the stair well, and things started to settle into place then. No. 3 and no. 4 show how he is thinking things through with a simple 'thumbnail' plan first, and then elaborating on it in his subsequent drawing. No. 4 was right at the end of the day, and he was getting really into it by then, and couldn't quite stop! Interestingly, Maggie pointed out that each of his compositions had a vertical 'block' running through the middle. Very useful to spot things like this.
Then
PAT K. also struggled!
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| Pat |
She was looking especially at the strongly silhouetted figures against a window. At first, she got caught by drawing 'the figure' as a separate entity from 'the background'. This rarely works. What she needed to look at was the fall of light, and how that defined the figure AND the space around it. This finally started happening in the final drawing (lower left).
She also did a drawing of a detail of the fireplace, just as a piece of abstract shape. We'll see whether anything can come of that.
ELIZABETH however had a little breakthrough moment at the end of the day.
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| Elizabeth drawing |
She had a day of studying little happenings outside the windows, using the window frame to create individual pictures. These were drawn, with little touches of colour. Then, right at the end of the day she produced this line drawing. This is really exciting as it offers so many opportunities for the next step. Elizabeth's tendency was to explore the subject so fully in her initial drawings, that the subsequent paintings were less interesting. This drawing, however, has a whole world of possible further interpretations. Over to you, Elizabeth!
PENNY had a most interesting day:-
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| Penny 1 |
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| Penny 2 |
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| Penny 3 |
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| Penny 4 |
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| Penny 5 |
The coloured piece came first, and already she was exploring what happens if an interior line became an exterior line (or vice versa) - see the diagonal line. This she then extrapolated further in no. 2, with the edge of the moulding on the door cutting across into the space created by the door. She also played with this idea very succesfully in no. 3. This is SO clever, because it's twisting what we understand by space - spaces through; spaces across; divisions of space. Great stuff, Penny. No. 4 was based on reflection in a glazed cabinet, but the bit of dark detail on the far left was added after, to balance everything - it was made up - and why not! No. 5 - look at the chair and it's reflection!
A real voice coming out here, Penny.
MAGGIE sent in the following :-
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| Maggie no. 1 |
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| Maggie no. 2 |
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| Maggie no. 3 |
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| Maggie no. 4 |
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| Maggie no. 5 |
Maggie's exploration was all about a sense of a space or presence unseen, or just vacated. All her drawings show tantalising glimpses of things half seen through rooms, or behind doors. She has used her components to brilliant effect to cut up the space in an exciting way. I love the use of the chairs in no. 4 - they fuse together to make one big dark form cutting across the picture.
Another thing Maggie did was to specifically bring paper that had these taller proportions, knowing she was going to be drawing interior spaces. Well done. Not enough consideration is given to the outer proportions in many cases.
JILL spent her time very usefully, doing a meticulous set of drawings of a very complicated 3-tiered table. She also snatched some quick figure when a group came in. Jill, I know tables keep still and people don't, but try and draw your people with that same sense of 'not knowing the answer', with which you drew the table. You drew it completely openly, not forcing answer on to it - treat people like complicated tables!!!!
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| Jill no. 1 |
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| Jill no. 2 |
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| Jill no. 3 |
JANE had to go early as she wasn't feeling too well. However, in the time, she did some very complex line drawings of views through doorways. We had discussions about how much she needs to be 'realistic' with the perspective. Examples above show the two extremes - Maggie used perspective to add to the composition (especially in no. 5), and Penny deliberately played with hers, using it or flattening it as the composition required. Jane also did some nice colour work - may I remind you about using those neutral/mixed colours as well, Jane. Really useful. I know it's difficult on the day, with limited materials.
Later - Jane has just sent in these images.
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| Jane no. 1 |
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| Jane no. 2 |
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| Jane no. 3 |
So, well done everyone. The next session will be on 4th November, and it was decided to try the plan of you going without me for another time, and see how it worked out. I will contact you before then, and I will need to know by the 2nd whether or not you are intending to be there..
By the way, another artist to look at is Hammershoi (Danish? ) - have a look of Google images - beautiful compositions with a real attention to tonal arrangement.
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| Hammershoi interior |
Or - completely the opposite extreme - Matisse/Bonnard interiors with all their COLOUR?
May I also pass on to both Pam and Pat W. all our best wishes for strength and better health. We missed you.
