This evening’s ‘Portrait Drawing’ class was the second of my three bookings in seven days for City Academy at Arts Theatre. It was the first class of a three-week course, so I took a back seat while tutor Stephen Nicholas amiably went through formalities, background, group introductions and a bit of theory. We then jumped straight into the long pose that would occupy most of the students’ time at their easels.
Almost all the artists declared they had little or no previous experience – certainly not portrait experience – yet the standard was extraordinarily high around the studio. As I sat at the centre of scrutiny however, it was amusing to hear Stephen tell each one in turn that they’d made my nose too big. As if it needs any extra enlargement! This isn’t suitable employment for those of a sensitive self-conscious disposition…
It’s not unusual for classes to start with warm-up exercises, but this one ended with a few warm-downs: quirky quick work, drawing in pairs, drawing each other. They were still drawing each other when I left! I was sorry to go as it had been a real pleasure to pose for the group. This had much to do with the light disarming tone set by Stephen, but also the artists being open and actively engaged throughout. An ideal session.
After taking a six-week break from life modelling – much of it six thousand miles from home, opting to use my hard-earned income for a holiday rather than sky-high winter fuel bills – I resumed with the first of three bookings in seven days for City Academy at Arts Theatre.
I would be posing for three different courses – ‘Painting the Figure’, ‘Portrait Drawing’ and ‘Portrait Painting’ – led by three different tutors, all of whom I’d worked with in the past. This evening’s ‘Painting the Figure’ session was led by Lawrence F Crane. We started with warm-up drawings: six poses of 2 minutes each.
For the remainder of our two-and-a-half hours I sat in a single pose based loosely on the 1923 painting ‘Portrait of Olga Picasso‘ by Pablo Picasso. My white sheet was beneath me, blue fabric round my neck, black velvet across the adjacent table, and a red vase beside me. Six artists at easels. We began.
Nobody painted the red vase. I guess they had their work cut out sufficiently with me. My own effort wasn’t too strenuous. Only the final half-hour got a little achy. I allowed myself a one-and-only stretch before these closing moments, albeit without standing, and that was enough. I was back as a model. Bring on the next challenge!
In the hour before I was due to leave home for this job, my local rail company saw fit to flash “delayed” across every live journey update on its website. A quarter of an hour later, everything jumped back to normal without any explanation. Nonetheless, I was sufficiently unnerved to leave earlier than planned. After two trains and a brisk walk up from Crouch Hill, I reached The Victoria Stakes a full half-hour before our 7pm start.
Artwork by Rosalind Freeborn.
Julia of The Moon and Nude was already upstairs in the function room preparing for what would be her first session of 2023. It was nice to have time for a natter. Even so, with no event marketing since before the festive season we waited more in hope than expectation for artists to arrive. Happily, cometh the hour we had a comfortable group. We began with poses of 1 minute, 2 minutes, 3 minutes, 4 minutes and 5 minutes.
Artwork by Jeremy Robinson.
Artwork by Rosalind Freeborn.
Artwork by Jeremy Robinson.
Artwork by Rosalind Freeborn.
With three more poses until our break, I decide to recline, sit and stand in that order. First I lay down for 10 minutes in a signature pose with left knee angled on the floor, right knee raised, left hand arched on my chest and right arm pointing up. Next I sat for 15 minutes resting back on my hands with both knees angled flat on the floor. To our interval, I stood with my left leg a pace forward and both arms extended low.
Artwork by David Fathers.
Artwork by Rosalind Freeborn.
Artwork by Jeremy Robinson.
The plan was to finish with one 45-minute pose. This left artists with just 8 minutes to fetch drinks from the bar, pop to the loo and prepare for the second half. Meanwhile, I took a leisurely stroll around the art space to appreciate artworks already made. With our restart imminent I moved a high stool to the centre of the room and perched upon it in as angular a fashion as seemed sustainable for the time remaining.
Artwork by louis000ag.
Artwork by Jeremy Robinson.
Artwork by David Fathers.
Artwork by Rosalind Freeborn.
During the opening seconds it was necessary to make a few hopefully imperceptible muscle adjustments to mitigate against any possibility of my left foot sliding from the seat. Once done, it was fairly plain sailing. Julia gave a time check every 15 minutes and between times I estimated progress by counting tracks on her enjoyable playlist. Nine o’clock arrived gently, mellow, concluding a very pleasant evening.
This was my first life model booking of 2023 – indeed my first in over 6 weeks – and I confess I misjudged. Inspired by a fleeting stance I’d observed during a performance of ‘One Man Poe‘ by Stephen Smith at King’s Head Theatre the night before, I set my opening 10-minute pose: upright, leaning back upon a wall with my right forearm whilst twisting left and reaching out to point with my left hand…
Artwork by Cliff Barden.
Only 10 minutes. Rock solid for the first three or four at least. After that, I don’t recall whether mental doubts or physical tremors made the first insidious intervention. Soft, soft, soft, the tremors came; my right arm yearning to slip along the wall, my left arm willing to dip, my torso taxed of resolve. Only 10 minutes. Then the artists graciously acknowledged my struggle… and we moved on to the next 10 poses.
Artwork by Frank Gambino.
Shorter poses followed: three of 1 minute, three of 2 minutes, one each of 3 minutes, 5 minutes and 8 minutes. I set about these with vigour, variety and a great deal more self-awareness and common sense. Poses can venture to a threshold of pain but are not obliged to cross it. We concluded the session with a 1-hour pose; 15 minutes to a tea break, and a further 45 minutes to the end.
Artwork by Jacqui Hamer.
Artwork by Valeria Pilloni.
Artwork by Elin.
Artwork by Helen.
Artwork by Cliff Barden.
Artwork by Frank Gambino.
Notwithstanding my early discomfort, I thoroughly enjoyed this return to modelling. It had been a pleasant surprise to be booked for South East London Life Drawing at The Art of Isolation so soon after my last visit in November 2022. There’s a lovely feeling of easy-going appreciation and enthusiasm from the artists that can’t help but encourage a model to give their best. Quite a few familiar friendly faces here too.
Once we had finished, artworks were shared around the floor of the venue and later around social media. It’s a gift that keeps giving, to see inspired drawings of oneself as they emerge online over subsequent days. Most are enthusiastically reshared on the @isolationartlondon Instagram account. Many thanks to everyone who tagged me directly, @steveritterlife – I hope I’ll see you again in person soon!
Whilst the deepest darkest pandemic days of coronavirus (COVID-19) lockdown now seem like part-hazy dream, part-waking nightmare, its after-effects remain real. Many of us used the time to reconsider our priorities. For me, modelling had always been a pleasure rather than essential employment, but almost 2 years of enforced downtime showed me I needed a healthier life balance. I needed fewer bookings.
So I set myself a target for 2022 of averaging just 3 bookings per month. I was ahead of schedule by mid-February and remained comfortably so all year, but a cancellation in October, a realisation I’d been miscounting, and a rash spate of declining offers got me doubting whether I would hit my annual quota. Then came the joy: first, a booking at The Art of Isolation, followed by a chance to model for Robert Waddingham.
Rob had drawn me previously in Monday evening classes at The Conservatoire, but this private booking would give him the freedom to determine timing, lighting, position and pace. Together we could agree poses that aligned with the challenges he wished to explore. Over the course of three hours, we began with an emphasis on twists and angles, then gradually steered our focus towards the observation of foreshortening
Poses were to last between 15 and 20 minutes each. I stood for the first three, sat for the next three, then lay down as if crucified – this got 10 minutes extra – and finished with one more on my feet. It could be the template for a perfect session; professional conduct from all parties, good rapport and understanding, great music whilst working, and fascinating conversation in between. All in all, a superb session #36 for 2022.
To south London for my first time modelling in a shopping mall. Rising from the ashes of 2020’s COVID-19 pandemic lockdowns, The Art of Isolation is a shop unit turned pop-up gallery turned established art space in Surrey Quays Shopping Centre (upper floor). On Saturdays and Sundays, it hosts South East London Life Drawing.
I arrived early and was greeted by organiser, Rod Kitson. In the gallery room, an arc of seats backed by a second arc of easels faced a side wall. At their focal point a low wooden platform, a footstool and an armchair were situated as a realm for the model. Tables against the opposite wall held materials for art-making and tea-making.
I would be posing for a full-house of 20 to 30 artists, including a few familiar faces. To get them started I stood for a 10-minute pose, then raced through three of 2 minutes, one of 3 minutes and one of 7 minutes. Two 12-minute poses took us to our half-time break for tea and biscuits. No podium remained unused.
During the interval I saw enough of the works produced so far to tell that these young artists were a gifted bunch; and of course the more mature among them applied their abundant talents with great vision and deftness too. Before resuming, I was asked by Rod whether I would mind if he took photos for use in promos. Gladly I consented.
The second half was comprised of two poses: 10 minutes and 30 minutes. I stood for the first with one arm raised and the other pointing down. To finish, I sat in comfort on the armchair with my right leg extended, my left knee raised, left arm across left knee and right arm serving as a gentle support behind me.
I’d thoroughly enjoyed this session. While I dressed, artists were invited to share their work by placing selected drawings on the floor for admiration and perhaps inspiration to others. My own inspirational act had been to drape my white sheet across all three pose podia. Unprecedented, apparently! You’re welcome. 🙂 Hope to see you again.
The dry mild weeks of early autumn had given way to a cooler front. It brought heavy downpours and, for me, a realisation that all my footwear leaks. Heading to The Star by Hackney Downs through damp streets and erratic drizzle I detoured successfully to buy a new pair of boots. Next priorities: a glass of wine and some great art.
Drawing the Star group organiser, Catherine Hall, very kindly catered for the first of those priorities at the bar. Upstairs, we shut ventilating windows against the elements and allowed the pose space to warm nicely while artists arrived. At 7:30pm sharp, we began: a 5 minute pose, then 4, 3, 2, three of 1 minute, and three 30 second poses.
After our opening whirlwind of shapeshifting, we dialled down the pace. Two poses of 10 minutes took us to a break. I stood for the first in a well-used stance, then reclined for the second, attempting to construct a horizon of bodily ridges and negative space. With hindsight I don’t think the latter really worked so I won’t be trying that one again.
For the last half-hour, artists had the choice of three 10-minute poses, two of 15, a 10 and a 20, or one of 30 minutes. After a bit of debate, they settled on three of 10. Also, as I’d somehow managed to cycle through 12 poses without any being seated, it was decided I should sit for the remaining trio. The first two were on a low stool.
As I fidgeted into my initial seated position, I apologised to the artists surrounding me that it’s impossible to be equally interesting from every direction; but there was space for them to move round the room. Efforts to be interesting cost me a few aches so for the last pose I sat on the floor – still twisted and angled, just slightly more serene.
At 9pm, after some nice applause, I cleared the pose space and retreated to a corner where I pulled on my old clothes and new boots. Artworks were spread upon the floor for much admiration and appreciation before all too soon it was time to drift away into the rain. Like new boots on a wet night, Drawing the Star is ever a comfort and joy.
steve ritter 