Recent life painting courses in Islington and Tottenham afforded me a rare glimpse of myself reproduced in oils; it goes with the territory. Equally rare, however, was the chance to see multiple works done in vivid colour. This doesn’t happen very often.
At the life groups where I most frequently pose, the artists overwhelmingly opt for the monochromes of pencil, charcoal and chalk. I’ve seen art of marvellously high quality produced with these media, but colour works are always harder to come by.
It was a nice surprise, therefore, to find two newcomers to the Life Draw N4 group in The Old Dairy pub, Crouch End, producing outstanding art in both monochrome and colour. Indeed, the overall standard remained high among all present.
Poses followed an established sequence of 5 minutes, 4, 3, 2, 1 minute, then 10, 15, 20 minutes to a break, and finally a single 25-minute pose through to the end. I enjoy the countdown at the start as it fills a quarter of an hour with poses that can escalate in dynamism. The longer pieces allow more time for imaginative use of colour.
This would be my last model work in 2014 for the group’s organisers, Aless and Julia. They had given me my first taste of being a group facilitator, and there would have been a second were it not for prior commitments. As their groups go from strength to strength in the coming year, I hope I can reprise my service in both capacities.
I’ve been blessed with a good number of life model bookings for Adrian Dutton during 2014. He and wife Anya have a long and ever-extending roster of models they can call upon at any time, and I see this as a great motivator for keeping standards high, never getting complacent about future work. It’s a fabulous group to pose for.
My November date was set to be the final one for them this year, so it was good to go out with a bit of a blast. No fewer than 21 poses were crammed into two hours and ten minutes of energetic modelling and drawing, with a break for hot food and drinks.
As always we began at 7pm with a 10-minute pose that allowed time for latecomers to arrive. We then steamed straight into a dynamic sequence with five one-minute poses, a 30-second pose and even a 15-second pose. Steadily lengthening the time, we went 3, 3, 5, 10 and 20 minutes to the interval.
Artists were at liberty to luxuriate in as long a break as they fancied, but I was back in pose at 8:20pm so the keenest among them could recommence without undue delay. This was an open-ended seated pose that ultimately lasted 20 minutes.
With everyone settled once more we resumed with another swift burst of dynamism: 3 minutes, 2, 1, 30 seconds and 15 seconds. Finally slowing the pace, we finished with 10 minutes standing and 30 minutes in a downward kneeling stretch.
The latter was a rare grievous misjudgement. I’d used this pose twice before and been perfectly fine but this time I was on a soft deep mat, which meant there were no micro adjustments in muscle tension I could make to relieve points of stress or pressure; all were simply absorbed by the mat.
I survived, and at the finish there was nice applause. Artists set their work on the floor for others to admire, and kind remarks were exchanged. I’m already looking forward to the next batch of bookings confirmed for 2015, and more superb Bethnal Green art.
“Hi Steve, do you want to be our model for our first painting course in Tottenham? … 10pm-5pm on Saturday 8th November. Let me know.
Thanks, Taz.“
Needless to say I accepted within minutes. The opportunity to model for Tottenham Art Classes‘ inaugural life painting course was both flattering and humbling. The new course had only been made possible by a community crowdfunding campaign to pay for the necessary equipment. They deserved no less than my very best.
Coincidentally or otherwise, the text from Taz came exactly a fortnight ahead of time, during the lunch break of another 10am to 5pm life painting course at Candid Arts in Islington. Master of the art, loquacious tutor and font of inspiration for both courses was Edward Wills. We were to be reunited with Taz on the weekend between these two Saturdays too, for Day of the Dead capers.
The Tottenham life painting course would be at the Triangle Centre in a community space for basketball and other indoor activities. In contrast with most art studios, the wooden floor was polished and spotless. Even more immaculate were the 15 sets of equipment for the artists. Easels, palettes, brushes, paints; all brand new and yet to see action.
The course was a sell-out. One person couldn’t join us on the day, while another was running about a half-hour late, so with 13 artists poised behind their easels we began. Taz welcomed everyone then handed over to Ed, who set the scene for the day.
To get everybody warmed up he started them drawing me in a fast-paced sequence of dynamic poses. These ranged from three minutes down to mere seconds. In each one I wore the same exotic turban with trailing rafraf that I’d first donned at Candid Arts.
Ed paced energetically behind the artists, spurring them on:
“Let the Devil possess your pencil, ride with the wind!“
Afterwards everyone gathered around Ed. He explained the preparation of natural paint colours, his full palette of 11 colours: Titanium white; Cadmium pale yellow; Cadmium yellow; Raw sienna, “the axis of the palette”; Raw umber; Burnt sienna; Cadmium red; Alizarin crimson; Cobalt blue; Ultramarine; Ivory black, a reduced palette of 6 colours, and how to prepare the canvas.
I adopted a simple standing pose while Ed described “sight seen” painting. Our group of artists was then cut loose to charge palettes with the reduced colour set and begin applying a base of raw sienna and raw umber to the first set canvases.
They would be painting me in two poses. The first would last an hour and a half, taking us to a 1pm lunch break. The second would be from around 2:15pm to close of play at 5pm. The latter included a 20 minute break, during which Ed showed how to build and prime a canvas, and a further break of 10 minutes for more tea.
I gave a lot of thought to my choice of poses. The first would be standing: I placed one foot slightly forward with an even weight distribution; I kept one arm straight, with hand on thigh; the other arm was across my body. Most of the artists had never handled oil paints in their lives so I kept this pose purposely simple – I didn’t want to add an extra level of challenge and needlessly distract from their familiarisation with the materials.
Ed provided advice and guidance to each artist yet his core message to everyone was reassuringly uncomplicated:
“The answers are all there before you; stand back, keep searching.“
After lunch I posed for another of Ed’s demos, and then prepared our main work of the day. For this I would be sitting on a cloth-draped bench. I planted one foot on the floor and had the other leg crooked sideways, its foot pressed into the opposite thigh. One hand was on the knee of the sideways leg, and the other on its shin.
My three main considerations in choosing this pose were that: (i) no part of me would go numb or become pained; (ii) the limbs were a bit more interesting with a vertical, a horizontal and diagonals; (iii) my genitals were obscured so novice artists could show their prized work to friends and family without fear of undue embarrassment.
This work was with the full palette. After a first 45 minutes we took a break for tea and Ed’s demo of canvas construction. For me this was arguably the most fascinating part of the day – I’d never seen it done before.
I sat in pose for 45 minutes more, then took a 10 minute tea break. A final 45 minutes took us to our 5pm finish. Everybody seemed satisfied with their development through the day; it seemed to me they had every right to be.
It had been a long but very productive day. Ed had kept it entertaining and informative throughout while the most credit must go to Taz, who went from nothing to being able to make possible such a professional course. Art and the passion to create continues to bring dreams alive.
Imagine ancient Babel: the city and its tower. All the world’s people striving in unity to attain heaven, rising ever upward, brick by brick. Such a conception, such vision, such ambition; a project almost unimaginable in its scale and complexity.
‘The Tower of Babel’ by Pieter Bruegel the Elder, c.1563
The legend says humanity was divided by language and scattered across the earth as punishment for its hubris. But humans still dream; we continue to imagine. In the mind of one man the people of nations can be reunited and rise once more… body by body.
That man is Angelo Musco.
© Angelo Musco, all rights reserved, angelomusco.com
© Angelo Musco, all rights reserved, angelomusco.com
Angelo is building a new Tower of Babel – a photographic Tower of Babel.
“Nothing will be restrained from them, which they have imagined to do”
It will be a work of truly staggering dimensions. Every layer, every wall, every column, every archway, every brick, every atom – all will be formed of naked bodies: humanity from across the globe, patiently photographed, painstakingly assembled over months and years.
“Behold, the people is one, and they have all one language”
Confirmation
Without realising it, I became a part of this project when Angelo came to London on 19 October last year. What I did know for sure, however, was that if a chance came to volunteer for him again I would jump at it without hesitation.
When it emerged on 13 June that he would be shooting in Berlin on a particular date, I booked my flight that same evening. The announcement said no-one should make any plans until all details were confirmed but Berlin is my favourite capital on the continent so the worst case scenario would still be a great weekend away.
First priority was to be given to locals who wished to take part. Total numbers involved would be limited according to the size of the studio. Nonetheless, all the planets lined up kindly – not only was I able to take part, but so too were many of my UK modelling and performance friends.
Berlin
Arrival in Berlin, Friday evening
The shoot was set for Saturday 4 October 2014 at the Forum Factory Performance Venue, not far from Checkpoint Charlie. I woke that morning in Berlin-Apartments and met fellow travellers Martin, Yvonne, Carol and Helmut at breakfast. The five of us would be taking part.
A few minutes on the U6 line brought us to Checkpoint Charlie, where we had enough time in the brisk autumnal sunshine to see a few sights and be introduced by Helmut to Germany’s beloved currywurst.
Helmut, Martin and Yvonne – of course we knew how to get there
At 11am-ish, we descended on D!NER67, just around the corner from the studio, there to meet other veterans: Chas, Clifford, Cy and Glynis. At the studio itself we met three more familiar faces that had flown in from the UK: John, Tony and Mike.
Gathering of the tribe at D!NER67
With ten of us having crossed the channel, plus Swiss-based Glynis, it meant that 11 from the UK would be taking part out of just 22 in total. Where were all the Germans? It’s a shame that more locals were not tempted to be a part of something so fantastic. I was really quite surprised.
Studio
Two days earlier we’d been sent the following to help us prepare:
We will meet promptly at 12pm at FORUM FACTORY.
As a reminder, please refrain from wearing any and all jewelry and/or accessories; anything removable should be removed. We will have an area available to store all your belongings during the shoot. If at all possible, please postpone your manicures and pedicures; pigments on nails are distracting within the final compositions. Also, please be considerate of your fellow models and attend to basic hygiene prior to arrival.
This is a private shoot and no spectators will be allowed entrance. However, should you have a companion that decides at the last minute that he/she would like to model, we will accept all participants up until the shoot begins, but it would be better if we know a few day before so we can add them to the list.
We will start around noon and we will finish around 4pm more or less. It will take 4 full hours so if you need to leave earlier we understand so please do so without interrupting the shoot, and if you need to arrive later please jump into the composition in-between creation of a composition and after you sign it with one of our assistants who will welcome you upon your arrival.
Again, thank you all so much for your enthusiasm and contribution to what we are sure will be another fun shoot!
We signed the official “hold harmless and release” model forms, grabbed a coffee and assembled in the studio to be reunited with Angelo. He introduced us to his assistant photographer for the day, Katja Hoffmann, and briefed us on his plans for the shoot.
Angelo explains all, watched by Katja in daring yellow shoes
We undressed. For most of the time we would be in two groups, one photographed by Angelo and the other by Katja. In the first half of the session we would be laying down on the floor while the photographers captured us from the top of stepladders.
© Angelo Musco, all rights reserved, angelomusco.com
© Angelo Musco, all rights reserved, angelomusco.com
© Angelo Musco, all rights reserved, angelomusco.com
We created rows of three or four on our front, back and sides; we curled in clusters of three or four; we constantly swapped around in our groups; we lined up, stretching out on our front, back and sides again; we formed a single magnificent mass of humanity.
© Angelo Musco, all rights reserved, angelomusco.com
© Angelo Musco, all rights reserved, angelomusco.com
© Angelo Musco, all rights reserved, angelomusco.com
After a break we switched to working on our feet as groups in conversation or gazing out of imaginary windows. This came as a relief after the bruising, sometimes painful work of contorting and rolling over the hard studio floor. We were working rapidly with constant direction, but everyone was in great humour and high spirits throughout.
© Angelo Musco, all rights reserved, angelomusco.com
© Angelo Musco, all rights reserved, angelomusco.com
At around half past three, Angelo decided he had all the images he could hope to get from the session and duly called it a day. Back in our clothes we took a few souvenir photos, both as a group and individually with the great man.
Yvonne, Chas, Carol, Helmut, Angelo, Clifford, Glynis, Me, Cy, Martin
Model and artist
Aftermath
We reacclimatised back at D!NER67. Each of us had to head in a different direction at different times on different days, but most were able to spend a relaxing evening at the Europa Center Thermal Spa. The next morning I joined Martin, Yvonne and Carol at top quality exhibitions of works by Picasso and Klee.
And when it could be put off no longer, I flew home. Within a few days Angelo shared some of his behind the scenes photos – a selection of which are above – and within a fortnight we even had a beautiful video memento. Check out the superb demonstration of shoelace knotting at the end…
All eyes are now turned towards Paris in the springtime, and the possibility of another Angelo Musco photo shoot next year. Again, priority must be given to the locals, and numbers may be limited by studio space. Nonetheless, for guaranteed support from a loyal following, let’s hope the Brits are allowed to make a return.
I for one can’t wait for the date to be announced.
© Angelo Musco, all rights reserved, angelomusco.com
After a Saturday afternoon modelling in the windowless basement of The Book Club, Shoreditch, my Day of the Dead weekend resumed on Sunday as an alfresco model at Downhills Park, Tottenham.
Sunday’s event was the Tottenham Ploughman Day of the Dead. The ‘ploughman’ originally brought together local artisan producers of bread, cheese and beer – hence the name. Now it embraces all aspects of community life… including life drawing.
I had been invited to pitch up with Tottenham Art Classes and model for anyone that felt inspired to draw. Posing in the middle of a field in broad daylight for a community celebration, I was not required to be nude (although they only had to ask.)
The intention was for me to be bare-chested with face and torso painted. On the day, however, in the brisk chill of November we settled for open-shirted. My semi-skeletal face paint, gems and a broken black heart were all expertly applied by Susan, an art class regular.
Cold wasn’t the worst element to beset us that day. Within moments of my arrival we had rain lashing down like stair rods. We were prisoners under an open-sided canvas tent and feared for a while that the whole event might be abandoned. Happily, the rain relented in time to spare us an afternoon washout.
Also happy was the arrival of professional artist, actor and all-round supreme being, Edward Wills. In his top hat and made to measure bio-resin face mask, it took me more than a split second to recognise him. The costumed elegance and delightfully louche manner, however, was a dead give-away.
Ed and I weren’t the only bizarre-looking characters stalking the park that day. We enjoyed the rare delight of sharing a tent with two mummers. Modernised medieval meets Mexican morgue; we made a rum crowd.
Photo by Joe Culleton.
Down to work. Ed and I would pose for two, three or five minutes at a time, while Taz of Tottenham Arts was our carny, cheerfully tempting passers-by to pick up a pencil and get creative – a snip at £2 a go. It was all very laid-back and entertaining.
Before the end of our two hours, Taz herself had succumbed to the temptation of Day of the Dead face paint. The good folk of Tottenham had come out to play despite the early foul weather and a jolly afternoon was had by all.
Photo by Joe Culleton.
Only one hiccup: I had brought soap and a towel with the intention of washing off my face paint at the Downhills Park Café but unfortunately their sinks were having a bad time. Thus, my homeward journey on public transport was as you see me here.
On a train out of Barking, one chap asked me what it was all about. When I told him he replied, “I bet you were painted to entertain the kids, but you had as much fun as they did.” I smiled and thought: how very perceptive.
A late call out! Art Macabre would be celebrating the Day of the Dead at The Book Club on 1 November, but they were lacking one skeleton. Hmm… skeleton, skeleton, skeleton. I could do that…
And so that very Saturday afternoon I got there nice and early, ready to be painted as an Art Macabre skeleton. Not for the first time, nor even the second time. It would, however, be a first face-painting commission for Caitlin: a natural artist with a talent in her hands and the macabre in her blood. Her work was fantastic.
My extraordinary co-model for the session would be Maya. She creates a persona for each occasion with her make-up brushes, and a flair for acting her roles. She brought vibrancy and intensity to the stage, embodying both the demure and the sinister.
With The Book Club’s basement bar packed with artists, I began our poses: first with flowers, next swigging from a bottle, then playing a suspiciously ukulele-like Spanish guitar, and finally seated holding a skull.
The bottle caught me out. It was thrust into my hands by our conductor of death and art narrator magnifique, Nikki, aka Raven Rouge. Her instruction was for me to throw my head back and pose as a drunkard. I did just that, raising it up to my lips without realising it was still about a quarter full.
For the duration of this 10-minute pose, I steadily siphoned off a quarter of a bottle of syrupy liqueur, down to its last drop. End of pose, I looked to see what it was: Italian Luxardo Maraschino, 32% vol. “I couldn’t find anything Mexican,” explained Nikki.
To close the first half, I was joined by Maya. I was to be a love-struck, flower-wielding skeleton – which to me meant getting down on one knee. After my previous painful kneeling experience, Nikki kindly checked I would be OK. All was well this time.
We took a break, and that was my work done for the day. Maya went solo in a single long pose through to the very end. I stuck around to take photos of the final artworks and to lend a hand in packing away. It had been a splendid afternoon.
No pressure, nice vibe, great people, great art… I love doing this stuff.
Art Macabre – 28 July:
Remind you of anyone? Planning an upcoming event… I wonder who the model should be??
One doesn’t like to thrust oneself forward with unseemly clamour, so I responded with a discreet *cough*. Eleven weeks later I was posing as an all-nude Aubrey Beardsley in ‘The Club’ bar of Hotel Café Royal, near Piccadilly Circus, London.
For those unfamiliar, Aubrey Beardsley (b. 21 August 1872, d. 16 March 1898) was: “an English illustrator and author. His drawings in black ink, influenced by the style of Japanese woodcuts, emphasised the grotesque, the decadent, and the erotic.”
Hotel Café Royal – 14 October:
I arrived in good time to find Art Macabre supremo and über visionary, Nikki aka Raven Rouge, readying our pose space. In addition to the honour of being invited to model, it was rather special simply to be inside this exclusive historic building.
Props are paraphernalia were prepared and primped and positioned. I helped as best I could before withdrawing behind the scenes, where I would be joined by my co-model for the evening, Missy Macabre. Missy applied her own delicate make-up, while Nikki was more liberal in applying mine.
The event was a complete sell-out, which meant the bar was awash with artists by the time we were ready for our first poses. We would start with two short pieces in which I would be solo as Aubrey Beardsley: first posing with Art Macabre’s medical skeleton, Stanley, and then raising a cheerful glass of something fizzy. I stood with care as the top of my head brushed the ceiling.
Missy then emerged, semi-clad with Beardsley-esque adornments, for our duo poses: first with me seated and then both of us standing. I held black and white flowers while Missy fluttered a delicate fan.
We concluded the first session wearing masquerade eye-masks. Missy took the high ground while I squatted by her feet, head held back to balance a mask on my face.
During the interval we changed make-up in readiness for a tableau that echoed one of Beardsley’s best known ink drawings: Salome with the head of John the Baptist on a plate. Missy went on stage first to pose solo with the empty plate.
Next, she needed a head. I was that head. Our second plate had a hole in the middle, with a slit that enabled me to fix it round my neck. Bloody rags held it in place.
I was led out by Nikki and put into position, kneeling so Missy could clutch the edge the plate that encircled my neck. This would be a 20-minute pose.
It was a fantastic scene but I’d misjudged; I should have thought to support my shins and ankles with some of the countless cushions laying around on bar chairs. I didn’t, and as a result endured the last 15 minutes in exquisite pain. Whoops.
Aside from that moment’s discomfort it was a tremendous evening. Afterwards, all the artists laid out their high-quality work so I could take poor-quality photos. Amid banter and laughs I posed for a few photos with the artists, and everyone seemed happy with their evening’s art and entertainment.
Full respect to Nikki for taking a complete event like this from concept to reality, and making a sell-out success of it. The effort put in is not to be underestimated. I merely have to turn-up, take direction, strip naked, and be as inventively static as endurance will permit. Nikki has to create legendary art happenings. Nobody does it better.
steve ritter 