Pau Ros had photographed me twice previously: once for Adam James’s Mud Circles shoot, and once supporting Angelo Musco in London; but I had never participated in one of his own flagship projects. This changed on Sunday 23 February 2014, in Studio 2 of Apiary Studios.
It would be the ninth Flashing Bodies shoot from the Completely Naked ‘visual arts collaboration’:
In this new project, Completely Naked artists Pau Ros and Pablo Goikoetxea and production & producer Tim Owen Jones bring together a production team and public participants to create themed Tableaux Vivants in the only way Completely Naked knows how!
Several of my performance and modelling friends had taken part in previous Flashing Bodies shoots, but my own debut would be Action Nine ‘Ugly’. The call-out for this “closed doors performance in front of the camera (video & photography)” explained:
We want to put a special focus on this action about what it means to be a woman today. With a new wave of feminism, strong women, movements like FEMEN and Pussy Riot and new attitudes versus the old collapsing men’s world!
I was one of 49 people to declare I would be going via the Facebook event page yet, as so often seems to be the way, nothing like this number turned up on the day. In particular, given the event’s focus on the new wave of feminism, there were very few women to carry the flag. Happily quality was present even if quantity was lacking.
So to Apiary Studios. I arrived a little before the 3pm start, at the same time as Glynis who I knew from performance work in Switzerland. We buzzed the door several times but to no avail. Finding ourselves beckoned by friends we joined our fellow performers Peter, Peter and Andy for coffee in the ‘Raizes’ Brazilian restaurant next door.
More familiar faces arrived and our numbers soon outgrew the restaurant. We returned to loitering outside the locked doors of the studio. When Pau arrived even he found the way barred, but – after some phone calls and a little patience – a key materialised and we filed inside.
With Pau and Pablo came a coterie of assistants bearing equipment and a staggering array of costume paraphernalia. A mere dozen of us, however, had turned up to pose and perform. It was nice to get the six Mudheads back together again: Chas, Clifford, Cy, Peter, Peter and me. Another performance regular, Andi, was there, together with Glynis, Michael and Janice from adventures in Switzerland. Andy, Stan and a young bearded chap whose name I didn’t catch completed us; 11 men and two women.
Photograph by Peter Maverick.
Adapting to these circumstances, Pau came up with a plan for five separately themed shoots to make best use of the bodies at his disposal.
First, everyone stripped naked to be photographed individually. Each photo-set would start with echoes of mainstream glamour poses, attempts to be beautiful and alluring, followed by a self-conscious highlighting of features that each found ‘ugly’. Cy got us started and truly went for it, setting the standard for others to follow.
The photographers wrapped up with all but two models done; only Janice and I missed out. This was an exceptionally full-on shoot and I wasn’t too perturbed that I wouldn’t be confronted later with harsh images of my least pleasant physical aspects.
Second was an inverted tribute to Pussy Riot. The males of us, plus Janice, donned Pussy Riot’s iconic balaclavas while carrying flowers.
We slowly stalked toward Glynis and unveiled her. She responded by straining upward with one black-painted fist. Was this a tribute? And how will history recall Pussy Riot, I wonder? For their blurred lines between art and protest, or just their headlines?
Next the balaclavas came off and tights were distributed among the men. I myself was handed a pair in fetching electric blue. This outfit was to be accessorised with a bright green curly comedy wig plus high heels in pink and gold. The most startling thing here is that the team actually had a pair of “wide fit” stilettos that fit my UK size 11 feet.
Thus attired, we set about mock-glamour solo shoots for the third piece. I went first. Being unaccustomed to wearing high heels, my complete focus was on not tottering over or spraining an ankle. Walking was a very delicate operation, but it represented another first for me so I am especially curious to see the final images come out.
We remained in costume for the fourth piece, in the style of a Vanessa Beecroft art installation. Caught on video we synchronised three simple movements before resting in a pose of our individual choosing. Being six foot four (193cm) tall I usually gravitate to the rear of group shots but this time I was asked to be front centre.
For the fifth and final piece, centre stage belonged to the magnificent Glynis…
Four of the chaps – Peter, Andi, Michael and Stan – donned smart suits and stood behind a naked Glynis. They moved her arms as if controlling a puppet, while Glynis crooned a soulful song with a power that belied her physical stature as the smallest, seemingly most vulnerable member of the group.
It was an extraordinary spectacle that drew spontaneous applause at its close. When Pau asked for a second take I thought he’d never recapture the strength of the original performance but, full credit to Glynis, she nailed it again.
The whole sequence of shoots and poses had taken four hours. Complementary wine and crisps had maintained our strength and stamina. That, and the sheer exuberance and enjoyment of the day.
This was creative photography in the excellent company of friends. With bated breath we now await the complete results.
In the meantime, here is the video trailer preview of PART ONE of UGLY:
Sometimes I find myself modelling in a venue that is rammed wall-to-wall with artists. And then on other evenings it seems weirdly as if almost all the artists have decided inexplicably to drop out at the same time.
Monday last week at the Waterloo Action Centre was an example of the latter. This was the absentees’ loss as Ursula – who was booked last time I worked here – was modelling once again. Our five lucky artists drew us first in four 15-minute poses.
After a break we resumed with four five-minute poses, followed by a 25-minute poses seated on the floor side-by-side.
It’s always encouraging when groups are a throng of life drawing enthusiasts. Smaller groups, however, make for a cosier, more laidback atmosphere. This was a nice one.
A rare opportunity arrived in early February when I was invited to be the solo model for a portraiture class at Cass Art, Islington. The class would be led by Nick Lord, who’d been named Sky Arts Portrait Artist of the Year in December 2013.
A strike by London Underground staff had cast some doubt over attendance numbers, but very few artists dropped out on the night. Among the 30+ that turned up were Nikki and Aaron, whom I’d previously worked with at Art Macabre events. It was Nikki who put forward my name for this one.
We’d set out three arcs of chairs for those who would be drawing. A projection screen to my right carried a rolling presentation of Nick’s works – it was abundantly clear why he’d impressed the Sky Arts judges so much. Cass Art supplied materials and a very welcome Joy Division soundtrack for the evening.
All poses were fully clothed. We kicked off with a series of short standing poses, then lengthened them and moved to long seated poses in the second half. Nick suggested a couple of angles and offered a few insights to the artists. The evening remained very laid-back throughout.
Here are some of Nikki’s great drawings and photos from the evening:
And here’s Aaron’s superb caricature of me from the evening’s final pose:
Drawing by @silveraj – © Aaron Jacob Jones
Very nice work. Check out the Cass Art blog interview with Nick Lord.
After a six-week break for Christmas and new year, life modelling resumed for me in 2014 back at Eastbourne House in Bethnal Green, working for Adrian and Anya.
I’d modelled there several times previously on a Monday but this was my first work for a Thursday class. As an added twist Anya emailed me that afternoon to say they had booked another male life model to make it a duo session. Fine by me.
My co-model, Andrew, hadn’t worked for Adrian before but had no shortage of previous experience. His highly toned physique and worldly looks were a gift for the artists.
With me bringing skeletal definition and ranginess to the show, between us we could offer a variety of contrasting forms and poses.
For all bar the final pose I worked with a wooden pole, like a shortened broom handle. I rarely work with props but rather enjoyed this session so I may well try it more often.
For example, by grasping each end of the pole and supporting one end against my left hip, I was able to pose for 20 minutes with one arm raised above my head. This would be much more difficult without the prop, which was unobtrusive enough to be excluded by artists who only wanted the human form.
For the final session I posed laying on the floor with knotted legs, hands clasping my ankles. Overall, a nice way to end the evening and begin the modelling year.
What better way to end a fantastic year of nude modelling and artistic performance than with a life art Christmas pantomime? The idea was irresistible when it came to Art Macabre supremo Nikki, a.k.a. Raven Rouge, in October as we prepared for the Digital Dystopia event.
Nikki makes ideas happen. This one would be a macabre version of The Wizard of Oz; a cast was assembled very quickly. The Attic bar of the Hackney Picturehouse was secured as a venue, for one night only in the week before Christmas. And the plot, the script… well, that could be made up as we went along.
Thus we came together at the Attic on the evening of Monday 16 December. Chelsea would play a topless Dorothy; Georgie and Ava would be naked witches – wicked and good respectively; Nikki would be in rags as the scarecrow; I would be a full-frontal tin man; and Linsay would wear furry pants and socks as the cowardly lion.
Aaron was our make-up artist and photographer. It would not be an Art Macabre event without lashings of body paint. First Nikki and Aaron painted Georgie green from head to toe. Meanwhile, Linsay had wrapped insulating silver around my torso and forearms in advance of Nikki and Aaron joining her in dabbing silver paint all over my face, neck, shoulders and arms.
Knickers were changed, capes and gowns were fastened, bows were put in hair, face paint was applied to Nikki and Linsay, horns were affixed to witches and a silver-foiled funnel was chin-strapped to my head. Our stage was strewn with curious props.
They say never work with children or animals, so we did without Munchkins and used a canine skull to represent Toto.
We were ready.
At the appointed time, Nikki took to the stage and set the scene, opening the session with Chelsea and Georgie in a run of short poses. Ava, Linsay and I lurked backstage, just behind the entrance curtain, eagerly listening for Nikki’s narration between poses to hear whether we were about to be called.
The good witch Ava made her appearance midway through the first half, while Linsay and I were destined not to appear until after the short drinks break.
The second half opened with me posing solo for 10 minutes, standing upon two stools with my arms raised in a vaguely menacing manner. Nikki felt that the Art Macabre tin man had to be evil: he has no heart, therefore he is heartless.
Next Linsay joined me on stage for a cowering pose as I held a human skull towards her. After this I gained my heart (a silver cardboard cut-out with red ribbons attached, stuck to my chest) and Linsay gained her courage (the skull of Toto, whom she had apparently devoured).
We held standing poses with Chelsea’s Dorothy standing defiantly between us, her hands on her hips.
For the final two poses the full cast assembled on stage. An unexpected denouement was the wicked witch throttling Dorothy to death from behind – a two minute pose at the very end. Apparently Nikki simply whispered to Georgie: “Kill her!”
Well… this was Art Macabre after all.
Job done, we hammed it up backstage and on stage for cast photos. This wasn’t a big payday, just a good honest feel-good event to end the year.
It was my fourth time as a player in Art Macabre’s theatrical world of life and death drawing. There’s always lots of banter, laughter, originality, creativity and surprises. The artists get a very different kind of life drawing experience, as well as a fun night out. If 2014 brings more opportunities to work with Nikki, Linsay and the gang, it will surely be a very happy new year.
Last night was my penultimate life modelling session of the year. It was a sixth time this year in Bethnal Green for Adrian Dutton and, as ever at one of Adrian’s groups, the organisation and hospitality was second to none. The challenge for me, however, was managing my poses around the little Stanley fan heater on a cold, cold night.
The first pose was to be 10 minutes long. Fresh out of my day clothes I began with a twisted standing pose. Next, the dynamic tension of five quick-fire one-minute poses kept me warm, but during the subsequent standing and seated three-minute poses I sensed a little of my core body heat slowly starting to ebb away.
I remained standing for five and 10-minute poses. The was heater roasting my ankles but not too much hot air was rising. Come the longer 20-minute pose I was ready to be more self-indulgent. I lay down sideways-on to the fan, warming my body, with my right foot resting on my left inner thigh.
For the final 10-20 minute pose before the break I sat up on the same spot. Weirdly, this was the coldest I’d felt all night. I could sense the hairs on my arms standing on end, and was glad when time was called so I could fall on the complimentary cooked pizza, garlic bread, red wine and nibbles.
In the final half-hour session I sat on a table covered with cushions, my right elbow on my right knee, index finger pointing heavenwards. With the heater angled towards me on an adjacent chair, this was a serene way to see out the evening.
In spite of occasional chills, my only regret was that my camera battery died before I could get pictures of all the great artwork produced. Adrian’s groups always seem to attract genuine artistic talents. It’s been my pleasure to work with them this year.
A new venue for me, in new circumstances – this evening I life modelled at Waterloo Action Centre, close to Waterloo station, London. The small group was organised by Irene, whom I’d met earlier this year at the birthday party of fellow model, Ursula. And, indeed, Ursula was my co-model for this session.
During the first hour we worked through a sequence of poses ranging from seven to 15 minutes. Proffering plastic apples, we posed standing and facing; seated on chair and floor; standing either side of a pillar; switched positions seated on chair and floor.
Irene commented she was pleased with our feet close together in one of her drawings. With this inspiration, we arranged our first pose after the break with us both sitting on the floor but with our feet sole-to-sole up on a chair.
For the last half-hour we posed laying close together on our sides. There was a gap of Victorian standard decency in between us, but it created an optical illusion of intimacy for the artists. Overall it proved to be a lively session with models and artists bantering together throughout, and a dance class next door bopping away to Elvis.
Lots of fun. Here are some of the fruits:
steve ritter 