How frustrating it is when one allows plenty of time to travel for a booking, one’s train arrives punctually at the station, but it then remains interminably inert by the platform because someone pulled the emergency chord and the driver can’t reset the doors…
I worked out an alternative route into the city, but valuable minutes had already been lost. Sadly it meant my 2-hour long pose at Mall Galleries for Hesketh Hubbard Art Society was truncated to just 1 hour 40 minutes this evening.
By the time I arrived, artists had settled into drawing short, medium and portrait pose models. I was immensely grateful that any opted to relocate and draw me: two at the outset, another four after the first half-hour medium pose, and one more later.
At the time of being booked I’d offered to stand for this pose. Usually models choose to lay down but, having rocked up late, there was more reason for me to go the extra mile. I stood for 40 minutes to begin; waiting 30 before shaking out my numbness.
Tea and biscuits were taken after this first 40 minutes (everyone else’s 60). Following the interval, I completed the second hour with a shake-break every 20-minutes. I had learned the hard way that leaving it half an hour was just a smidgeon too long.
Artwork by John Williams.
Artwork by John Govett.
Artwork by Anthony Roe.
I’ve suffered on the long pose platform here in the past, but this session was actually quite beautiful. I felt genuinely appreciated by those who came to draw me, and I felt the same towards them. Such a shame I couldn’t have given them the full 2 hours.
This booking made in February 2024 was meant to be in Fitzrovia Community Centre on 15 August. With 2 weeks to go, however, we had to relocate as the Centre ceased being a venue for Adrian Dutton’s groups. I was sorry it came and went before I got my chance to add it to the list of 11 venues where I’ve previously worked with Adrian, but out of sorrow some good emerged – a return to the Garrett Centre instead.
Artwork by el_sav_art.
We began with a 5-minute standing pose then went quicker with two of 1 minute, two of 2 minutes, then lengthened to 5, 10, and 15 minutes. The final pose of our first half ought to have been 20 minutes but probably stopped after 17 minutes at eight o’clock sharp so we could partake of piping hot complimentary food. Adrian is still the best at feeding his artists and models!
Artwork by Freddie Crossley.
Artwork by Maryka.
Artwork by Maryka.
Artwork by Freddie Crossley.
Artwork by el_sav_art.
Artwork by Tosin~Sanni.
Artwork by Maryka.
Stuffed with dhal, flatbread, biscuits and tea, I resumed after the interval as if nothing had occurred and I was still as svelte as I’d been at the start. Second half pose times were one 10-minute pose, two of 1 minute, two 2 minutes and one 20-minute pose to finish. This wasn’t the busiest evening at the Garrett Centre, but the feeling round the room was warm, and the artworks were wonderful. A happy rescheduling.
Three weeks after I’d modelled for Catherine Hall and Farida Yesmin at a private life drawing session in Margate, the three of us reunited for another artistic collaboration. This time we were in Folkestone, hosted by Farida. Previously we’d worked outdoors with poses of 10 to 15 minutes, but here we would be inside for longer poses.
Artwork by Farida Yesmin.
Artwork by Catherine Hall.
Artwork by Farida Yesmin.
Artwork by Catherine Hall.
After a catch-up chat and some excellent brunch provided by Farida, we began with a simple 40-minute pose semi-reclining upon a chaise longue. The next pose – another of 40 minutes – was to focus on hands and feet, so I sat upright with limbs positioned to the fore. Complex angles, no problem to hold, exquisitely captured.
Artwork by Catherine Hall.
Artwork by Farida Yesmin.
Artwork by Catherine Hall.
Artwork by Catherine Hall.
Artwork by Farida Yesmin.
We finished with a few shorter poses: 11 minutes standing, 16 minutes sitting side-on and 7 minutes sitting with one arm reaching upwards. Whilst pose times in classes or group settings usually end with a five or zero, at private bookings artists can luxuriate in asking for an extra minute or two whenever it’s desirable… and sustainable. 🙂
Afterwards, Farida showed us around the seafront and art spaces of Folkestone. The town may not have the headline art attractions of Margate, but it’s every bit as vibrant for grassroots practising artists. Thanks to Farida and Catherine my own two summer sessions in Kent have been hugely enjoyable. Hope we can do it again some time!
Margate appears to have become the epicentre of arts in north Kent. The celebrated home town of artist Tracey Emin also now boasts the Turner Contemporary gallery plus many other independent galleries and artist studios. Indeed, no fewer than three life drawing organisers for whom I first modelled in London have relocated here. One is my good friend Catherine Hall, who still runs Drawing the Star in Hackney.
I’d visited Catherine in Margate a couple of times before, but this was a long overdue first visit to do some life modelling. The idea received fresh impetus when our mutual friend Farida Yesmin, who also lives in Kent, joined us at a Drawing the Star session in June. Plans were made, and the three of us duly converged for a summer Sunday morning of life drawing in the great outdoors. I disrobed beneath apple and fig trees.
Artwork by Catherine Hall.
Artwork by Catherine Hall.
Although nude outside in a residential area, I eschewed the use of a fig leaf. Even so, we started cautiously to avoid a scandal. I stood well concealed amidst foliage for the first two poses of 10 minutes each. But then I became bolder, emerging more into the diffused light of this overcast day: 15 minutes and another 10 minutes. As confidence grew, so did my roving; I crossed the lawn to recline on a bench for 10 minutes.
Catherine with reclining nude.
Artwork by Catherine Hall.
On the other side of the lawn I stood for a final pose of 14 minutes. I believe I noticed the top of neighbour’s head bobbing along behind the wall opposite but happily for all concerned, their eyes never peered over the top. Catherine and Farida are both such supremely gifted artists that their focus couldn’t be deflected by oblivious passers-by, nor even a few sparse raindrops. This was wonderful art-making in urban nature.
Artwork by Catherine Hall.
Artwork by Farida Yesmin.
It’s nice to do something out of the ordinary and off the London circuit. Even better in such great company, with generous helpings of Catherine’s legendary banana bread. The art didn’t end there as we took time to check out exhibitions by the Tracey Emin Artist Residency (‘The Final Show’), Vanessa Raw (‘On Earth We Weren’t Meant To Stay’), and Ed Clark at the Turner. Next stop: with Farida in Folkestone! 🙂
Life modelling is always a more comfortable experience in the warm summer months of long light days with fewer clothes to shed. And where better to appreciate this than The Conservatoire in Blackheath beneath the glass roof of its Victorian art building? ‘Warm-up’ poses, for those still in need of warming-up, were: 1, 1, 1, 5, 10 minutes.
A single long pose would occupy our remaining two hours. Tutor Victoria Rance had suggested we look to the sculptures of Auguste Rodin for inspiration, so we scrolled through images of his works and were drawn to the strong standing stance of a portly gentleman with arms folded. I was to be Balzac, étude de nu C, grand modèle.
Stretch breaks were offered every 20 minutes but I prefer to continue in pose as long as the cumulative little pains remain tolerable. I stood from 8pm to 8:30pm, then took time-out till 8:45pm, resumed for a further half-hour till 9:15pm, had a 10-minute rest, and completed the session in pose for a final 30 minutes up to 9:55pm.
My back was a bit creaky by the end, but otherwise all was good: a nice atmosphere, pleasing artworks, and it’s always great to work with Victoria. Most serendipitous was the inspiration. I’d only recently finished reading the wonderful Cousin Bette by none other than Honoré de Balzac himself. It was my honneur to stand as him here. 🙂
My first booking of 2024 with The Moon and Nude saw me once again taking centre stage – or rather, the centre of a large oval of chairs – at The Victoria Stakes pub in Muswell Hill. Sadly the group’s organiser, Julia couldn’t be present but it was good to reconnect with others in this friendly community of artists.
Artwork by Alan Baines.
Early summer temperatures were comfortable and I was happy for curtains to remain open – at most I might be glimpsed by passengers on the top deck of passing buses. Nonetheless, the possibility of complaints was apparently real, but worth a risk for the natural light, while it lasted. We started with poses of 3, 3, 3, 5, 10 and 15 minutes.
For the final 20-minute pose before our half-time break, I stood with my back arched, left foot a small pace forward, right hand on right hip, and left hand raised. During the interval, artists said they thought my raised arm must have ached. It hadn’t; but there was enough in that back arch to make this easily the session’s most painful pose.
Artwork by Alan Baines.
Artwork by Alan Baines.
Two 20-minute poses concluded our second half. I sat upon a high bar stool for both, first facing north, then turning south. Not for polar alignment, but out of consideration for where most artists were clustered. It’s not possible to make each pose perfect for everyone in the round, but one does at least try to be fair to all… and please most!
Some life drawing groups are reliably consistent. As the model employed, one knows how the venue will be arranged, how many poses will be needed, and how long each pose will last. One can mentally prepare a pose plan and proceed with certainty.
At other groups every session is an adventure. One may have a sense of tuition style or tone or energy, but pose requirements, artistic techniques to be practised, and any overarching theme may not be known till one is naked and awaiting instruction.
The former breed confidence; the latter are energising… like this one. 🙂
This was my third booking with Art in the Village. I knew from experience not to plan in advance, just enjoy the ride. But I also knew I would be in safe professional hands, treated with utmost care and respect, and have an engaging, challenging, lively time!
It was to be a session of contrasting halves. We started with our main exercise of the morning, for which the group’s inspirational tutor, Cleo asked the artists to prepare by each applying graphite across an entire sheet of paper using a soft pencil.
After a few minutes listening to the ocean-like swishes of 4B on A4, I was then asked to sit in a very open pose – lots of negative space from all angles – for artists to draw using erasers. In other words, subtractive drawing: where less is literally more.
I sat comfortably in position for the entire 45 minutes; not requiring a break, although several offers were forthcoming. In fact I thought the artists might struggle more than me, with it being their first attempt at this method, but they did really well.
For the second half, we had some improvised quick-pose fun. At Cleo’s suggestion, I worked my way around the arc of artists, standing in front of each for 2 minutes in an expressive theatrical pose. Artists captured all the poses on one sheet each.
Quick poses are often used as the warm-up before a long pose, but this light-hearted reversal made for a very nice warm-down. With ten minutes remaining, we squeezed in one final 10-minute pose and were done. Brilliant session! Thank you, Cleo. 🙂
steve ritter 