I met Vika when I life modelled at Print Club London on 1 April this year. Vika asked whether I would be interested in sitting for one of the 3-hour Sunday portrait sessions she runs at Praxis N16 in Stoke Newington. For sure, I would!
Praxis N16 is an artist-led, not-for-profit charity organisation that provides “affordable and flexible workspace for local creatives”. Inside the converted Victorian warehouse there are individual studios, a kitchen, bathrooms, and a large workshop space.
Our portrait session was held in the large open space, made bright by warm summer sunshine, and kept tolerably cool by a rotating fan. I sat upon a chair with my back to the wall, a contrasting fabric taped behind me, and an arc of easels in front.
We started the afternoon’s single pose in durations of half an hour, with a short break after each. Following three of these we took a longer break with much friendly banter over a lavish buffet of snacks, generously provided by Vika in the kitchen.
When we resumed there was time for one more sitting of forty-five minutes, taking us to the end. Of course, the curse that falls on all portrait sitters is drowsiness. I find it’s always at its peak during the second half-hour, and so it proved again here.
I fought gamely against the fog; that grey tunnel into which consciousness and vision seek constant refuge. The artists reassured me I got through it without actually falling asleep, but their portraits captured me accurately with heavy eyelids.
Aside from the endurance factor – an unavoidable aspect of the job – this was a very nice session with nice people. Everyone was engaged, but each was happy pursuing their own practice in their own way, which is exactly how untutored art should be.
Pose minutes, 1pm-4pm
Part 1 : 90.
— break —
Part 2 : 45 continuation.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Vika.
Artwork by Frank Gambino.
Artwork by Frank Gambino.
Artwork by Frank Gambino.
Artwork by kung chun chan.
Artwork by Melissa Hajj.
I’ve written many times about my great affection for Drawing the Star and the joyous evenings of modelling for the group at The Star by Hackney Downs, yet even within that context this felt like an important one. At a personal level. Therapeutic.
On the Friday before this Tuesday I attended an event that made me feel melancholy at the time and then utterly wretched throughout the day after. I bought myself a treat on the Saturday afternoon; pricey, but just a mental health sticking plaster.
Thereafter, things picked up. I had a happy social Sunday, and went through Monday with more positive purpose. Friday’s discombobulation still hadn’t fully worked its way out of my system, though. Special life drawing with special people was required.
I arrived an hour early and met Drawing the Star organiser Catherine Hall at the bar. I’m privileged to have known Catherine for more than twelve years as a brilliant artist, gifted art tutor, slick event maker and above all, friend. We talked… well, I talked.
Thank you Catherine, for listening. It wasn’t an emotional outpouring, I just needed to unblock. I’ve often felt if there was no such thing as art, then social services would be overwhelmed. Models need outlets too. Now it was time for me to work.
I started the session feeling energised, and this only escalated when midway through the first half, in walked model / artist / omnidazzling human, Haffa, who had joined us to draw. Quite unexpected.
Suddenly two of my favourite people were in the room: Catherine, who has shined so bright in my sky for so long and continues undimmed; and now Haffa, a new glittering star in my firmament. Unique people. Sometimes I need reminding of my blessings.
And lest I forget, the other artists in the room added their own stardust, creating such strong drawings, sharing their own goodwill and lively energy. Thank you, everybody! I’d arrived with baggage and optimism; I left only with happiness. Thank you.
Pose minutes, 7:30pm-9pm
Part 1 : 5, 4, 3, 2, 1, 1, 1, 0.5, 0.5, 0.5, 10, 10.
— break —
Part 2 : 10, 10, 10.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Abi.
Artwork by Abi.
Artwork by Abi.
Artwork by Abi.
Artwork by Abi.
Artwork by Carolina Thorbert.
Artwork by Carolina Thorbert.
Artwork by Carolina Thorbert.
Artwork by Carolina Thorbert.
Artwork by Carolina Thorbert.
Artwork by Carolina Thorbert.
Artwork by Catherine Hall.
Artwork by Catherine Hall.
Artwork by Catherine Hall.
Artwork by Catherine Hall.
Artwork by Catherine Hall.
Artwork by Catherine Hall.
Artwork by Catherine Hall.
Artwork by Catherine Hall.
Artwork by Eri Jameson.
Artwork by Eri Jameson.
Artwork by Eri Jameson.
Artwork by MISHLA.
Artwork by MISHLA.
Artwork by MISHLA.
Artwork by MISHLA.
Artwork by MISHLA.
Artwork by Oliver Elphick.
Artwork by Oliver Elphick.
Artwork by HAFFA.
Artwork by HAFFA.
Artwork by HAFFA.
Artwork by twobellsofawakening.
Artwork by twobellsofawakening.
Artwork by twobellsofawakening.
Artwork by twobellsofawakening.
My second session with London Drawing during this week was Thursday evening at St Pancras Church House, near Euston Station. As on Tuesday in Covent Garden we expected a relatively low number of artists attending, but whereas on Tuesday we were blown away when forty turned-up, on this occasion our expectations were met.
That’s OK. I suspect if we had been told in advance the total number of artists for the two sessions we would have been quite content. As it was, the lopsidedness felt a bit weird. The show goes on regardless, however, and in this instance the more intimate scale afforded positivity of a different kind. Artists had room to move in closer.
My job and that of London Drawing organiser Anne remained the same. Anne offered guidance and suggested challenges, whilst I made poses appropriate to each task. In Covent Garden the suggestion was continuous line; with dominant and non-dominant hands. Here it was cropping. As ever, most artists simply adapted as they pleased…
…and as ever, if they are pleased then I am pleased.
Pose minutes, 7pm-9pm
Part 1 : 10, 2, 2, 2, 2, 2, 5, 7, 25.
— break —
Part 2 : 30.
Artworks
With apologies to artists I’m unable to credit.
I had two bookings with London Drawing this week, beginning here at Westminster Quaker Meeting House in the Covent Garden area. Both came with 48 hours’ notice and were most welcome. Both also came with a warning that in soaring summer heat our numbers for artists attending might not be great.
The climate forecast was correct but the numbers forecast could not have been more wrong. No fewer than 40 artists turned up. Apparently it was only 10 the week before. But I’ve heard similar from many life drawing organisers; they might have a loyal core of regulars but overall numbers can be wildly unpredictable. Tricky business.
I take no credit for our full house as the model’s identity hadn’t been promoted. I take credit only for stamina in maintaining an extended sequence of 2-minute poses while latecomers were being checked-in throughout the whole of our first half-hour. Overall we gathered a lot of energy in the room… of the positive kind, not just the heat!
Pose minutes, 7pm-9pm
Part 1 : 10, 2, 2, 2, 2, 2, 2, 2, 2, 2, 10, 10, 10, 10.
— break —
Part 2 : 35.
Artworks
With apologies to artists I’m unable to credit.
Sweet Thursday – or rather its private hire space, ‘The Cannery‘, at the rear – is the newest venue for Adrian Dutton’s groups. It has superseded St Peter de Beauvoir Town church hall as the place for Monday evening life drawing. And what a delightful cosy arty space it is for life drawing.
The church hall had a larger floor area with more room for everyone, albeit with a row of support columns that could obstruct sightlines. The Cannery, although smaller, can comfortably accommodate 25-30 artists with the model posing in the middle, and has the bonus option to buy drinks and snacks at half-time from Sweet Thursday itself.
So this became the thirteenth different venue at which I’ve posed for Adrian’s groups. One thing that never changes is the easy-going charm of Adrian himself. Pose times were familiar too and it was nice to recognise friendly faces among the community of artists that has relocated from the old place… just five minutes’ walk away.
Pose minutes, 7pm-9pm
Part 1 : 5, 1, 1, 1, 1, 1, 2, 2, 2, 2, 2, 5, 10, 20.
— break —
Part 2 : 5, 15, 20.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Jessica Rose Bird.
Artwork by Jessica Rose Bird.
Artwork by Jessica Rose Bird.
My return to pose for Art in the Village was my first since last June, my sixth overall, at my fifth different venue, all in the Muswell Hill/Highgate areas of London. It was an exceptionally hot, humid, heatwave day in the city, but we had a relatively cool space in the back room of Muswell Hill Books and Parlour, with two hefty portable fans.
Art in the Village’s founder and driving force is Cleo Harrington. As ever, she was on top of the details and attentive to everyone’s needs but on this occasion she gave the tutoring reins to artist Mark James. This opened an opportunity for artists to consider the figure in the abstract; much of Mark’s own practice focuses on abstractionism.
Exercises included overlaying continuous line drawings created with different colours without looking at the paper (short poses) and defining the figure’s outline by drawing the backdrop to the figure rather than the figure itself (longer poses). In the heatwave conditions, this may have been a conceptual overload for a few of our artists!
The main thing is that everyone entered into the spirit of the exercises, even if one or two couldn’t help reverting to their comfort zone of drawing from direct observation. It still provoked thought and discussion, and yielded some interesting results. I enjoyed it all immensely. A combination of nice people and original ideas always pleases.
Pose minutes, 11:45am-13:45pm
Part 1 : 1, 1, 1, 1, 1, 2, 2, 2, 2, 10.
— break —
Part 2 : 25, 25.
Artworks
With apologies to artists I’m unable to credit.
Photo © Art in the Village
Photo © Art in the Village
Photo © Art in the Village
I began the week with a first-time visit to London School of Visual Arts, down in the Crystal Palace area of south London, to sit for portrait artists. It was a 3-hour booking within which I sat for four 20-minute periods in the first half, with a short stretch-break following each. After a longer interval for refreshments, I sat for three more periods of 20 minutes (the last extended to 23 minutes) again punctuated by quick stretches.
Amongst the venues where I’ve posed, this is one of only a surprisingly small number to have a purpose-built pose space. It incorporates a raised platform against one wall with specialist lighting and room for an arc of easels that looked to be comfortable for our six artists but maybe could have accommodated a couple more at a push. On the platform itself I sat upon a throne-like chair, more like a lord than the lone employee.
A common occupational hazard for portrait models is the danger of nodding-off. I was in most peril of this happening during the second of our seven 20-minute periods, but thereafter remained fully alert. Overall this was a thoroughly enjoyable evening with a nice group of artists, who were as studious during their practice as they were relaxed and jovial during the breaks. And the artworks? Phenomenal.
Pose minutes, 6:30pm-9:30pm
Part 1 : 80.
— break —
Part 2 : 63 continuation.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Riichard Gray.
Artwork by Nick Richards.
Artwork by Themistoklis Tefas.
Artwork by Charlie Pickard.
steve ritter 