I’d modelled at Waterloo Action Centre three times in the past, but this booking was my first time solo here. In 2013 and 2014 I had made duo poses with Ursula Troche, whereas in 2018 I formed a trio with Esther Bunting and Valentina Rock, posing for Mexican TV news.
Similarly, after all these years, this was also my first time solo for London Drawing. I had modelled as part of their multi-model extravaganza events with Spirited Bodies, and of course there was the Mexican TV piece, but now it was just me. I opened with one warm-up pose of 10-minutes, then cycled through six of 2 minutes each.
London Drawing organiser, Anne Noble-Partridge led proceedings, offering ideas and suggestions for how to approach every pose. After we’d warmed-up, the remainder of our two hours was devoted to chair work. Specifically, four poses wherein I presented various postures whilst sitting on a chair. First: 10 minutes with one knee raised.
For the second seated pose – 15 minutes – I kept my legs straight, feet crossed, and arms to one side with fingers of each hand interlinked. Anne recommended artists try continuous line drawing for this and the previous pose. Several rose to her challenge. Having been awake since 3:30am, for me the challenge was keeping my eyes open.
We took a welcome break at this point. I walked around the space, feeling my energy rekindled at the sight of many pleasing drawings. That’s all it takes sometimes. When we resumed, the third seated pose was due to last 15 minutes, but by agreement ran on for an extra five. The final seated pose was to be 20 minutes from the outset.
As temperatures outside plummeted, two little fan heaters ensured I was comfortable throughout. Indeed, every aspect had been pleasant. This sort of work appeals to the life drawing purist within me: a guided session for a mix of abilities, no gimmicks, just the pleasure of artistic practice. It was good to be back.
Now this was a rare treat. My recent bookings with Hesketh Hubbard Art Society at Mall Galleries have been for portraits or single long poses but on this occasion – the first of its kind for more than 3 years – I was invited to the short pose platform.
Artwork by Simon Whittle.
In advance of the session, I gave consideration to my choice of four 15-minute poses and two 30-minute poses. It’s almost unknown for me to prepare a full ‘pose plan’ but intuition told me this was the right time. On the evening itself I felt positively serene.
Artwork by Yuxuan Zhou.
It was nice to see so many familiar friendly faces amongst the artists around all three pose spaces. In particular, it was great to meet Jana Williams at last – model for the long pose, organiser of life art groups, and a smart no-nonsense presence online.
Artwork by Simon Whittle.
So anyway, there I was with my pose plan. I’d stood tilting for 15-minutes (a tad achy, that one), I’d stood with one arm over my head and the other behind my back, and I’d sat with a knee and an arm raised. One more pose till tea and chocolate digestives.
Even the pose before the break – standing with arms shaped like a twisted square at my back, which I’d never previously attempted for longer than 5 minutes – felt good. I treated myself to a bonus custard cream. Just two half-hour poses remained.
Artwork by Simon Whittle.
Artwork by Yuxuan Zhou.
Artwork by Simon Whittle.
I stood and I sat, well-balanced and comfortable; I didn’t even notice my lightly purple numb left hand until the very end. But I thoroughly enjoyed the evening, meeting new people and catching-up with those I’d known for years. My spirits lifted. Thank you.
Movember, the month formerly known as ‘November’, is a moustache-growing charity event that raises funds and awareness for men’s health.
Movember participants sign-up on movember.com and then choose to Grow a moustache, Move by walking or running 60km throughout the month, Host a Mo-ment by gathering friends, or create their own challenge with Mo Your Own Way.
So I grew a moustache…
lifedrawing.art marked Movember with a ‘Month of Men‘ at Homerton library. Five Thursdays, five life drawing sessions, five male models; I was life model number five. Four weeks before my date, with due commitment I began cultivating a beard. Come the day itself, the beard dwindled to a moustache. My first ever moustache!
Fleetingly I feared my face fuzz feat had been futile. A broken rail on the Overground to Homerton and a failed train on the Jubilee line thwarted my route for getting to the venue. By rapidly switching to DLR, Central line and bus, I was ‘only’ 15 minutes late. It happens extremely rarely, but I hate being anything other than comfortably early.
I was grateful that organiser Bruce and the artists were so laid-back about it. I wasn’t the only one affected. Simple solution: we let the session overrun by 15 minutes. For the first half we began with a 5-minute pose, then followed it with four of 90 seconds, two more of 5 minutes, a 10-minute pose and a 15-minute pose up to the break.
I’d indulged in some prop use: standing with two lengths of material – one black, one white – draped over my shoulders. To begin the second half I indulged some more: a seated pose clutching a long bamboo cane for 20 minutes. One final 20-minute pose reclining on a desperately-needed electric blanket concluded our evening’s work.
It was gratifying to see so many artworks had captured the ‘tache. They will probably be the only evidence of me ever having had one. After a protracted sub-zero journey home, I took my beard-trimmer to the bathroom and bade it farewell, never to return. Or will it? There will be other Novembers… maybe there will be other Movembers.
Maybe I’m kidding myself, but I don’t feel I post on social media for self-promotion. To me, when I post about my life modelling work it’s simply sharing what I love to do and sending out positivity to the groups and artists for whom I work. Sometimes, however, it earns me a new job. As in this case, when Cleo of Art in the Village reached out.
Evidently my Instagram account gave the right Egon Schiele vibes, so I was kindly invited to pose for end-of-month life drawing at The Birchwood Centre, Muswell Hill. The warmth of Cleo’s welcome more than made up for the centre’s under-performing radiators. I felt care and appreciation even before I started my opening ‘guru’ poses.
Posing in the round, I was asked for one 5-minute seated guru pose then three more variations turning 90° for 2 minutes each time. Cleo provided advice to artists before, during and after every change, with discussion, engagement and sharing throughout. Clearly I had entered a close, characterful community. Next: the long pose.
To support the planned tuition, I was asked specifically to lay down for the long pose. No problem! But more than that, to lay as if collapsed like a murder victim, with head lolling down to the floor from the cushions beneath me. I slumped into position with a few Schiele-esque angles in my limbs, and then remained in situ for 40 minutes.
I was offered a break after we’d gone halfway but as this pose was at the shorter end of the long pose scale, I gallantly declined. Aside from anything else, intuition told me that returning to the exact same position could be a bit of a palaver. So I continued to lay back and think of England… or muse on Muswell Hill, at least.
At the end of the session, everybody shared their drawings by placing them upon the floor, and everyone was invited to speak about one they really liked. Even me, but as I’m fickle I couldn’t help choosing four or five. Cleo made sure nobody missed getting their fair share of praise, and hopefully all departed feeling happy. Certainly I did.
On a bright, crisp afternoon in east London, Esther and I joined Avidyā for bagels. It was both a lunch and, in my case, an introduction. Avidyā had drawn Esther on many occasions but this was her first time meeting me and a first time drawing us together.
Two rarities in a single session: a private booking for one artist and a chance to pose as a couple. We began with quick poses for warm-up sketches before laying down in an embrace for our long pose. Through happy tears, Avidyā captured our aura. 🌈
When the time felt right we stopped for hot chocolates, then resumed for another half hour. This was just a start – both for the artwork and our connection. Avidyā will finish her painting in our absence, but we already plan to reconnect in a fortnight. ❤️
Ten weeks after my last visit to The Birds, I was back for part 2 of a double booking with Leytonstone Life Drawing. I love this group and felt blessed to return. As usual we began with quick poses: three of 1 minute, three of 3 minutes, three of 5 minutes.
Artwork by Phyllis.
Artwork by Jennifer Wolf.
Artwork by Olga Szynkarczuk.
For the last 5-minute pose, I manoeuvred my rear to the edge of a small square table and reclined down to the floor; not quite so easy as I’d imagined. It was a bit too high, even for me, so I balanced by draping my legs over the top and down the other side.
Artwork by Phyllis.
Artwork by Paul Green.
Artwork by Jennifer Wolf.
After an inverted pose that proved rather a challenge for everyone, not least myself, I went orthodox for the next 12 minutes: standing with my right leg a pace forward and fingers interlinked behind my backside.
There was time for one more pose of 8 minutes before our half-time break. For this, I sat upon the floor, right leg crooked and horizontal, left knee raised to support my left elbow with left forearm vertical, pointing to heaven. Or the pub ceiling, if you prefer.
Artwork by Phyllis.
Artwork by Paul Green.
Artwork by Jennifer Wolf.
I felt the first half had been positively received, but organiser Jenny was preoccupied with thoughts of some people who’d arrived, sat down, then immediately got up again and departed just before the start. My guess was they hadn’t expected a male model.
Artwork by Phyllis.
Artwork by Jennifer Wolf.
Artwork by Phyllis.
Artwork by Jennifer Wolf.
We resumed with poses of 20 minutes and 15 minutes, taking us to a finish. For both of these I sat on the small table, arranging my limbs within its confines. A male model maybe isn’t for everybody but it was nice to see artists looking happy at the end. 🙂
Instagram reels
It had been 4 years since I last modelled for a Halloween-themed event, and 7 years since I last posed on Halloween itself. This session at Drawing the Star wasn’t billed as a Halloween special, and anyway I had no time during the day to sort out props or body paint… but organiser Catherine Hall brought a skull, and a skull is all I need!
Artwork by Rae Birch Carter.
Artwork by Peter John Holmes.
To a life model, a skull can simultaneously be a prop, a focus, and an inspiration. Any pose undertaken with the skull could equally be presented without it, but the dynamic changes as the skull becomes a device for interaction. Suddenly, every pose is a duo pose. These began with timings of 5 minutes, 4 minutes, 3 minutes and 2 minutes.
Artwork by Alex McKenzie.
Artwork by Catherine Hall.
Artwork by Alex McKenzie.
The quick poses came to a head with three of 1 minute and three of 30 seconds. In a very literal sense they came to a head, as each of these was with the skull too: either raising it aloft or pressing it underfoot, feigning to throw it or thrusting it to the ground, or simply standing akimbo with skull on hip.
Artwork by Alex McKenzie.
Artwork by Alex McKenzie.
Before our break we slowed the dramatics with two poses of 10 minutes each. First, I stood up straight, left leg a pace forward, fingers interlinked below my backside. It’s a stance I’ve presented many times, but never before cradling a skull. I followed this on my aforementioned backside, sitting on the floor, skull held upon a raised knee.
Artwork by Rae Birch Carter.
Artwork by Irene Michaelides.
Artwork by Alex McKenzie.
We had a good circle of artists. As usual after the interval, before resuming Catherine invited a show of hands on preferred pose lengths for the final half-hour. Never was a popular vote concluded so speedily: the first voice said “two fifteens” and one-by-one each arm raised was an arm in agreement. No contrary view expressed.
Artwork by Mark Doherty.
Artwork by Catherine Hall.
Artwork by Alex McKenzie.
Artwork by Terence Williams.
Artwork by Joseph O’Connor.
For 15 minutes I stood stooped with my left foot on a low stool, left elbow on left knee and skull in left hand, while my right hand rested upon my lower back. To end, I stood straighter, put my left hand on my hip and, with a finger of right hand threaded behind the skull’s jaw, set the skull upon my right shoulder; cheek by jowl, if you will.
Artwork by Peter John Holmes.
Artwork by Catherine Hall.
Artwork by Alex McKenzie.
Artwork by Terence Williams.
Artwork by Joseph O’Connor.
Artwork by Rae Birch Carter.
Artwork by Mark Doherty.
When time was called, I shifted myself out the way as rapidly as possible so artworks could be set out upon the floor for admiration. Such a strong session, so many strong drawings! I’d felt invigorated from the outset by my co-model, the skull, and now it felt both gratifying and moving to see this outstanding response. Happy Halloween! 💀
steve ritter 