Royal Tunbridge Wells in Kent is quite some distance outside my normal catchment area for life model work. Too far to justify travel for a standard 2-hour booking, unless making it part of a full day-out. When Tunbridge Wells Life Drawing group changed its format, however, to incorporate two sessions in a single day, it became viable.
The most decisive factor persuading me to take this job was the manner of invitation. I’d wavered at a one-session offer, but when the group’s organiser came back with a double offer, in a way that made me feel truly wanted and appreciated, I was in. This may make me seem sentimental, vain or needy but such things make a difference.
The morning was sunny and my two-and-a-half hour journey was smooth, so I was in good spirits before we’d even started. The first session would focus on poses of short and medium length; the second wholly-separate session would be focused mainly on one 90-minute pose. This blog post covers the first session.
We began with a 10-minute warm-up, after which poses ranged from 2 to 15 minutes taking us to our break. For these poses, artists were encouraged to try drawing in the pastel style of James McNeill Whistler. Famous Whistler witticisms were read aloud but I confess my own knowledge is limited to Monty Python’s Oscar Wilde sketch.
Many artists gamely embraced the Whistler challenge, while others found developing their own personal styles was challenge enough. I’d quickly learned that this is a very relaxed friendly group where any approach to making art is welcomed. I even happily consented to photography of me in pose – remember, artists: consent is essential!
After tea, biscuits and a nice mingle at break-time, we finished with a 35-minute pose that took us to 2pm. I made it a standing pose, which was appreciated as I was given to understand most models sit or lay down at this stage. I figured there would be time for sitting in the long-pose session due next. This had been an excellent opener.
Pose minutes, 12pm-2pm
Part 1 : 10, 2, 2, 2, 2, 2, 3, 10, 15.
— break —
Part 2 : 35.
Artworks
With apologies to artists I’m unable to credit.
Venue: The Village Community Hall, Little Mount Sion, Tunbridge Wells, TN1 1YS.
Artwork by Stuart.
Artwork by Stuart.
Artwork by Stuart.
It was with a heavy heart that I declined an opportunity to pose for Hesketh Hubbard Art Society at Mall Galleries on 28 March as their ‘quick’ 15- or 30-minute poses life drawing model (a prior commitment). As the offer was made on 7 December last year, I’d expected to wait a long time for my next chance. Not so, however!
When on 23 March I was offered this clothed portrait model booking – for a date only two weeks after the date I declined – I couldn’t have been happier. Not all life models relish the prospect of portrait posing, with some perhaps only accepting to remain on the books for nude work, but I’ve genuinely grown to enjoy it.
What one loses in the range of possibilities for self-expression, one gains in having a much more direct – literally face-to-face – connection with the artists. That’s my view, anyway. And having sat for these artists several times over the years, the connection here feels even stronger; it’s like an on-going conversation.
So I sat for an hour, then we all had our 15-minute tea break, after which I sat for one more hour. Normally we’re working in silence but on this occasion it was shattered by an unnerving scream and regrettable public lamentations of someone present having what seemed to be a nervous breakdown of sorts. Quite shocking, and so sad.
Art helps us deal with our inner demons, but we’re all struggling. I hope they’re OK.
Pose minutes, 6pm-8:15pm
Part 1 : 60.
— break —
Part 2 : 60 continuation.
Photographs
All photos © Hesketh Hubbard.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Daniele Urania.
Artwork by Tony Swann.
Artwork by Irene Lafferty.
Instagram reels
This booking at The Star by Hackney Downs – my first of the year – extended a run of having modelled there at least once a year, every year, since 23 April 2015. It’s my longest such sequence at any venue. And this evening was one of the best.
I’ve always loved the space, the format, the ambience, the people, the playlist; in fact everything about how Drawing the Star is organised and manifests. What made this evening special, however, is that it was literally a full house: not one place vacant.
Two free seats at the outset were filled by latecomers before the break. Another artist who arrived during the second half had either to stand or find room on the floor. I love seeing exemplary life drawing groups flourish. Sold out! Standing-room only! Yeah!
After almost thirteen years of modelling for scores of groups, I can speculate on what might make some life drawing groups more successful than others, but I still have no idea what drives the week-by-week peaks and troughs of artists’ attendance.
The only consistent patterns I observe are that when attendance is high, models tend to congratulate the organiser whilst organisers tend to credit to the model. Vice versa, organisers despair of their uncompetitiveness, models blame their own undesirability.
Nevertheless, setting aside all such glibness on our tendencies to paranoia, praise or modesty, it’s an empirical truth that from so much time and effort put into creating this community, if anyone deserves the success of sell-out sessions it’s Catherine Hall.
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 Annie Watts.
Artwork by Catherine Hall.
Artwork by Louise Cowley.
Artwork by Christian Moehring.
Artwork by Alex McKenzie.
Artwork by Catherine Hall.
Artwork by Alex McKenzie.
Artwork by Catherine Hall.
Artwork by MISHLA.
Artwork by Alex McKenzie.
Artwork by Christian Moehring.
Artwork by Louise Cowley.
I’ve life-modelled regularly with Adrian Dutton’s groups for more than a decade, yet somehow more than two years had passed since my last visit to his Monday evening venue: St Peter de Beauvoir Town church hall.
Life drawing here is promoted as ‘The Animators‘ sessions, implying an emphasis on quick poses – indeed both my last bookings included fifteen 1-minute poses – but an absence of actual animators attending in recent months has seen it toned down.
I didn’t mind this evening not being excessively gung-ho. A good mixture of short and and medium-length poses suited me, and seemed to suit the artists too. It was a very pleasant evening with nice people in a good space. Just the tonic.
Pose minutes, 7pm-9pm
Part 1 : 5, 2, 2, 3, 3, 5, 10, 15.
— break —
Part 2 : 5, 10, 15, 20.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Emma Woodcock.
Artwork by Helen Joyce.
Artwork by Mark Lovelace.
Artwork by Emma Woodcock.
Artwork by Helen Joyce.
Artwork by Mark Lovelace.
Hot on the heels of working with tutor Caroline Underwood for a life drawing session at the Granville Park Centre in Lewisham, we renewed acquaintance remotely for one of Caz’s own online portrait drawing classes.
For inspiration, selected artworks from the Siena exhibition at the National Gallery in London were scrutinised at the outset. We also looked at Edvard Munch Portraits at the National Portrait Gallery. Mostly, however, I would be channelling Siena.
In addition to saintly iconic expressions of piousness and humility I also threw in a few hand gestures appropriate to the theme. Beyond my webcam, beyond the glass of my home studio, all was calm and bright in the world outside; all was serene within.
It was a nice morning with a lovely little group – focused whilst working, friendly when not. Caz is always looking for more artists to join, so if you fancy refining your portrait skills from the comfort of your home, check out Caroline Underwood classes.
Pose minutes, 10am-12pm
Part 1 : 5, 4, 6, 5, 15, 30.
Artworks
With apologies to artists I’m unable to credit.
I’d modelled in person for Adult Learning Lewisham before, but only at the Brockley Rise Adult Education Centre, never at their Granville Park Centre. And I had worked with tutor Caroline Underwood before, but only online, never in person. The ‘nevers’ were erased by this booking.
What a lovely session it was too, for a group of employees from a firm of architects in the crisp yet gently warming light of early afternoon sunshine. The focus of study was ‘hands’, albeit with varied and expressive gestures attached to a nude model. We got underway with half-a-dozen quick warm-ups before lengthening the poses.
It had only been nine days since my last life modelling work. During that short time I’d had the funeral of one parent, then got away from it all in Bulgaria for four nights, only to be called within an hour of getting home by a paramedic attending the other parent. So it goes. Amid relentlessly intense real life, occasions like this are to be cherished.
Pose minutes, 1pm-3pm
Part 1 : 2, 2, 2, 2, 2, 2, 10, 10, 20, 30.
Artworks
With apologies to artists I’m unable to credit.
Almost six months on from my debut session at The Clapton Hart, I was truly happy to see life drawing there had flourished. The group was in its infancy last September, when I was its fourth-ever model, but it has matured nicely since then.
Apparently artist numbers can still vary, but I’m sure there were five times as many in attendance to draw me this evening compared with last year. Perhaps the move from Wednesday evenings to Monday evenings was a significant factor. Who knows?
One consistent positive has been the ever-enthusiastic and well-organised running of the group by Catherine Hall. All the upbeat engaging attentiveness, care and energy she brings to Drawing the Star on Tuesdays is present at Clapton Drawing too.
In such an environment it didn’t really matter how I had been with my own challenges during the preceding days or weeks. I could feel good here, enjoy working the space, and hopefully inspire some sublime works. The artists did not disappoint.
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 Catherine Hall.
Artwork by Catherine Hall.
Artwork by Catherine Hall.
Artwork by Rat Rights.
Artwork by Catherine Hall.
Artwork by Natalia Beltyukova Loribo.
Artwork by Catherine Hall.
Artwork by Thom Wheeler.
steve ritter 