In a surprisingly busy week of bookings that all arrived relatively late, this one got the prize for shortest notice of all: not much more than 24 hours before the session itself. But it was ideal as I would already be in town and able to travel direct from my earlier job in Tottenham Hale, with enough time for an unrushed bite to eat before work.
When I last posed for London Drawing at Westminster Quaker Meeting House, in spring, it was quite a busy session. Returning now just a few days before Christmas, it seemed fair to expect a somewhat below-average attendance. Not so, however, as a surprising influx almost bang on 7pm made the overall turn-out respectable.
I started with a 15-minute warm-up pose that allowed time for everyone to choose an easel and get settled. Once liberated from sign-in duties by the door, Anne of London Drawing then steered the group through a flurry of quick-fire 2-minute poses followed by loosely-timed longer poses, with suggestions and feedback for artists throughout.
It was a nice, comfortable relaxed session. Being at the centre of London’s West End where hardly anyone actually lives, this group doesn’t have quite the community vibe that’s more prevalent further out, but it has its regulars, everyone is equally welcome, everyone is equally ‘at home’. Hey, drop-in some time! 🙂
Pose minutes, 7pm-9pm
Part 1 : 15, 2, 2, 2, 2, 2, 2, 2, 5+, 5+, 15+.
— break —
Part 2 : 35.
Artworks
With apologies to artists I’m unable to credit.
This one-to-one private booking was for two 4-hour sessions across successive days at the artist’s studio in Tottenham Hale. Just one single pose was required of me but with a twist: that I should alternate between being dressed and nude throughout.
The inspiration for this exercise came from the 1941 book ‘The Natural Way to Draw‘ by Kimon Nicolaïdes. I was to begin clothed in loose garments that would crease at the shoulders, elbows and knees. Then, after 20 minutes, I would switch to nude.
This cycle proceeded – clothed, nude, clothed, nude, always the same pose – for the full 4 hours, with most sittings timed exactly at 20-minutes but with a 10-minute and a 30-minute exception when each were expedient and not counterproductive.
Whilst there was a degree of rigour in adherence to the exercise, I was not subjected to unnecessary rigour as the model. I was able to choose the pose; had short breaks between sittings; had one longer break; and was offered a healthy array of snacks.
Care and professionalism, sufficient warmth, generous provision of food, an excellent playlist, interesting conversation without non-stop exhausting chatter, all made this an enjoyable first day. I left at dusk, looking forward to continuing on the morrow.
…and so to part 2 of a double session for Tunbridge Wells Life Drawing. During the half-hour interval between part 1 (shorter poses) and resuming for part 2 (long pose) time was spent admiring works that artists made earlier, and eating a modest packed lunch that I myself made earlier. Not quite a full rest and recharge, but sufficient.
As is usually the case, some artists who attended the earlier session departed, some remained and a trickle of newcomers arrived. Normally I expect more attendees for a short-pose session than long, and in fact that’s how it was here, but it was pleasantly surprising to find numbers were overall not too dissimilar.
I was asked to warm-up with four 2-minute poses, which caught me off guard slightly, but for the benefit of those who had drawn me earlier I contorted into all-new shapes. Then came the main feature: a 90-minute long pose with a break in the middle. Time to be seated, in a position from which no emerging aches could easily be foreseen.
Of course remaining motionless for that long in any situation other than one intended to induce slumber will invariably lead to aches sooner or later. The priority for models is to make the best choices for it to be later. On this occasion I got it about right. Only one numb hand needed a couple of shakes. That’s acceptable. A happy day. 🙂
Pose minutes, 2:30pm-4:30pm
Part 1 : 2, 2, 2, 2, 45.
— break —
Part 2 : 45 continuation.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Juan Hayward.
Artwork by Juan Hayward.
Artwork by Juan Hayward.
Artwork by Lynda Bell-Mann.
Artwork by Stuart.
Artwork by Stuart.
Over the years I’ve heard many reasons for cancelling life drawing sessions, yet here was a potential first: a whole town losing its water supply. Tunbridge Wells started to experience loss of water on 29 November. Several days later, its residents still had to boil their home supply. So how might all this affect Tunbridge Wells Life Drawing?
With local life so fundamentally impacted, the concern was whether artists would feel able to take time out. After consulting regular attendees, organiser Ben decided there was enough interest to proceed with my double booking for 6 December; short poses from 12pm to 2pm, then a long pose session from 2:30pm to 4:30pm.
Another point that Ben and I discussed in advance was: which artist to suggest as an inspiration for our day. From Ben’s shortlist, I picked Alberto Giacometti. I have long felt an affinity with Giacometti’s sculpture figures – all the more so since posing in the Giacometti style for a 2017 Tate Late event. I’m a Schiele and Giacometti kinda guy.
Cometh the day, given the late call to proceed, late advertising, ongoing water issues and competing pre-Christmas events around town, it was no surprise that attendance was down. Even so, the turn-out was still respectable with plenty of positivity. Ben set the scene and I threw myself into Giacometti-inspired shapes, plus a few of my own.
Tap water in the kitchen was declared out-of-bounds so our tea breaks were tea-less. Most of us brought our own bottled water, however (mine filled and imported from my Essex home supply). I needed hydration as the hall’s heaters were ferocious. It might even have been the first time I’ve ever suggested switching-off heaters in December.
So overall the short pose session (midday to 2pm) started well, progressed at a good pace, relaxed to a jolly mingle at the interval, and became a more meditative practice with a 40-minute pose to finish. I stood for the longer pose, knowing I would be sitting for the hour-and-a-half pose of part 2…
Pose minutes, 12pm-2pm
Part 1 : 8, 2, 2, 2, 2, 4, 5, 9, 15.
— break —
Part 2 : 40.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Milly (Ivy & Arlo Designs).
Artwork by Milly (Ivy & Arlo Designs).
Artwork by Milly (Ivy & Arlo Designs).
Mall Galleries is home to the Federation of British Artists, a visual arts charity that consists of nine separate art societies. I’ve modelled in Mall Galleries many times but hitherto for just one of the nine: Hesketh Hubbard Art Society. Then along came an opportunity to pose for a second: the Royal Institute of Oil Painters (ROI).
Accompanying this year’s ROI Annual Exhibition, an ‘art event evening’ was to take place. As the exhibition had a theme of ‘Home’, three models were booked to pose in pyjamas and optional dressing gown – a very ‘at home’ look. A seat was placed upon each of three separate platforms, around which ROI artists formed in three clusters.
For me there was only one drawback with the concept: I hadn’t worn pyjamas in over three decades and certainly didn’t own any. Fortunately I was able to (ahem) ‘borrow’ some left by my brother at our parents’ house for use when he visits. Thus equipped, at 6pm I commenced my debut pose for the ROI… in another man’s jim-jams.
Even in unlikely attire, it was a thoroughly enjoyable evening. Very well attended, lots of enthusiasm from the artists, no shortage of talent either, plus a mince pie and wine at the interval. At the end, judges selected a ‘best’ artwork from each pose space and gave a prize for the one they felt was best overall. I reckon ‘my’ artist was robbed!
Actually, I’m never quite sure why competitive awards exist in the arts (Turner Prize? Booker Prize? ‘Oscars‘? tch!), where subjectivity of opinion is everything. I suppose it’s either ‘just a bit of fun’ or a means of generating publicity, depending on scale. I’m praying there’ll never be a ‘best model’ award. Please, please, no-one stoop to that!!
Most importantly, a good time seemed to be had by all. And although I didn’t realise it then, I was yet to get an award of sorts when “my” artist – brilliant Cristina Vercesi – contacted me a few days later to offer me her painting as a gift. No publicity, just pure generosity of spirit and quiet kindness. Very many thanks, Cristina. 🙏
Thanks also to Simon Whittle, President of Hesketh Hubbard Art Society, for putting my name forward as a model, and to Luis Morris of the ROI for taking care of all the models on the evening; and thanks to all the special people in my life without whom I would not… etc, etc. That’s my cheesy winner’s speech. 😀 My prize: art and joy. ❤
Pose minutes, 6pm-8:15pm
Part 1 : 60.
— break —
Part 2 : 60 continuation.
Event space
Pose space
At the interval
Artworks
With apologies to artists I’m unable to credit.
Award finalists
It had been a nerve-jangling morning and afternoon. In winter rain and gusting winds, this was the first of four days over which all external-facing windows and doors of my home would be replaced. Long-overdue essential works, but highly destructive in the undertaking; vast gaping holes exposing my inner sanctums to the roaring elements.
By 5pm, three windows had been replaced, apparently successfully, and at last I was alone in the house. All was calm, if rather messy. I had a vague feeling of shell-shock yet summoned sufficient wits to make scrambled eggs on toast as a light meal before making scrambled body shapes for Walthamstow Lifedrawing.
You might think the quiet solitude of the pose space is where life models replay, distil, and meditate upon whatever thoughts are most preoccupying. Indeed that can be the case. But if the mind allows, it can also be a place where cares as well as clothes are shed; where all that matters is stability, stillness, and the passage of time.
It was nice to pose for this lovely group and forget the outside world for two hours. As artists sketched, I sometimes counted the seconds, sometimes surveyed my physical sensations, sometimes made idle inventories the globe, sometimes dreamt no further than my next pose. And when I returned home… the house was still standing.
Pose minutes, 7:30pm-9:15pm
Part 1 : 5, 5, 5, 5, 10, 15, 20.
— break —
Part 2 : 30.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Harriet Armstrong.
Artwork by Harriet Armstrong.
Artwork by Leah.
I was supposed to be having a 25-day break from modelling – central to which was a 15-night holiday at the south end of Fuerteventura. Normally I don’t take online work when I know I’ll be away as it’s tricky to vouch for wifi quality in advance. In this case, however, I was already away when I got the offer; I knew the wifi was good.
So come Saturday afternoon I set-up my phone camera on a mini-tripod, attached an external battery to boost its power, readied my laptop as further back-up, then settled down for a spot of London Drawing portrait modelling live from the Canary Islands. All this gear I just happened to have with me anyway.
What a wonderful session it turned out to be. A bonus for the artists was that daylight on Fuerteventura lasts two hours longer than in London at this time of year, meaning they could draw me in natural light throughout; it would have been electric light in the UK. I gurned for short poses, but was more naturalistic as durations lengthened.
I loved listening to tutor Josie Deighton describing the geography of my features: “a mountain on his nose“; “hair like a roof“; “eyes are like breasts“. And I was supposed to be keeping a straight face! Best of all was how everybody engaged in the session, sharing artworks and encouragements with others at half-time and the end.
Overall it was hugely enjoyable and did not feel at all like an imposition of work in the middle of a vacation. Quite the opposite, in fact. Lovely to reconnect with Josie again and to see so many fantastic drawings and paintings created by the artists. Hopefully this could be the start of more remote modelling whilst travelling… wifi permitting.
Pose minutes, 4pm-6pm
Part 1 : 10, 2, 2, 2, 2, 2, 15, 15.
— break —
Part 2 : 2, 2, 30.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Ed Simkins.
Artwork by Gordon Stewart.
Artwork by Jennifer Priaulx.
Artwork by Jennifer Priaulx.
Artwork by Janice Strauss.
Artwork by Renske Siskins.
Artwork by Renske Siskins.
Artwork by Renske Siskins.
Artwork by Renske Siskins.
Artwork by Renske Siskins.
Artwork by Renske Siskins.
Artwork by Carol Smith.
Artwork by Carol Smith.
Artwork by Vanessa.
Artwork by Vanessa.
Artwork by Vanessa.
steve ritter 