My second booking of 2025 with Adrian Dutton’s groups at the Garrett Centre was my thirty-second at that venue in the last twelve years. Never to be taken for granted, repeat bookings are truly a blessing worthy of full gratitude… and originality.
I use this blog to look back on poses from previous visits. The ideal is then to choose different poses from my tried-and-tested ‘stock’ and if possible supplement them with one or two original poses. After a dozen years, however, the latter is getting harder.
I’d arrived with a couple of new ideas, but immediately abandoned them upon seeing that a stick and football had been provided for me as props. My new ideas could wait for some future date. This evening’s originality would be prop-driven.
The football, plus a small ball found under a table, all came into play during the quick opening poses. The 4-foot stick was incorporated into a 10-minute first-half pose and the evening’s final pose, of 20 minutes; horizontal, then vertical.
I confess that one pose from my previous visit slipped into the repertoire when I was asked for a 5-minute warm-up to start our second half. Also, a seated pose had mere minor variations, but then there’s only so much one can vary when sat on the floor.
When I first modelled for Adrian I was told that artists who regularly go to life drawing sessions have “seen it all before“, so I should try to give my poses “something extra“. ‘Twas excellent advice all those years ago, and remains as relevant today.
Pose minutes, 7pm-9pm
Part 1 : 5, 1, 1, 1, 2, 2, 5, 10, 25.
— break —
Part 2 : 5, 15, 20.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Alexandra Pinkhassov.
After a busy 11-day programme of family Easter Art Events, The Art of Isolation was able to resume its regular weekend life drawing; albeit only the Saturday slot as there could be no class on Easter Sunday.
Uncertainty always hangs over likely attendance numbers for any event in the middle of Easter weekend, but pleasingly there was a strong turn-out this Saturday. Possibly the lack of a Sunday option made a difference… who knows?
Saturday sessions are usually dominated by a single long pose, and so it was on this occasion too. Of course, we scampered through a handful of short warm-ups first but then I settled into the seated position I would hold for an hour and fifteen minutes.
35 minutes into the long pose, we had a break for tea and biscuits. Upon resuming, a few artists switched positions to start a fresh drawing but most continued their work. I remained comfortable throughout, needing no further breaks or stretches.
Straightforward stuff really; which is in no way to diminish the joy or high standards of all the sessions run by artist Rod Kitson here. It remains a favourite venue for me so fingers-crossed for returning to pose on a non-Easter Sunday later in the year.
Pose minutes, 5:30pm-7:30pm
Part 1 : 5, 2, 1.5, 2, 7, 35.
— break —
Part 2 : 40 continuation.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Jacqui Hamer.
Artwork by Chris Gambin.
Back to The Birds in east London. In contrast with my long weekend journeys to and from Tunbridge Wells Life Drawing, this commute is just two short hops for me; still plenty of time for reading on the trains. I am currently enjoying ‘Dombey and Son‘ by Charles Dickens, so I need many journeys to get me through its 1,022 pages.
It’s always a joy to pose for Leytonstone Life Drawing; for the space, the music, the lighting, the pose lengths, the relaxed vibe, and especially for organiser Jennifer Wolf. Jenny has a natural warm-heartedness and infectious enthusiasm for art-making that in turn makes me conscious of wanting to do better myself. It’s a positive feeling.
Artists are at liberty to make art in any way they choose, but during the shorter poses Jenny likes to suggest a challenge or two. For example, this evening as I stood at the centre of a square of tables Jenny timed a 15-minute pose in three 5-minute intervals and suggested artists move round to a different side after each.
Some artists rise for the challenge whilst others stay put (most understandably those with easels or a spread of watercolour paints). It doesn’t matter, so long as everyone is content with their practice. I certainly was with mine. And afterwards, I managed to enjoy even more of ‘Dombey and Son’… courtesy of train delays all the way home.
Pose minutes, 7:30pm-9:30pm
Part 1 : 3, 3, 3, 15, 12, 15.
— break —
Part 2 : 20, 25.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Jennifer Wolf.
Artwork by Elsa.
Just half an hour separates the Tunbridge Wells Life Drawing session for short and medium-length poses (part 1), and this long-pose session (part 2). Roughly a third of that time is spent in shared admiration of the artworks created during the first session but I still had minutes enough for a sandwich and crisps before resuming work.
Only a couple of artists stayed to take part in both sessions. As a general rule across most groups, there’s consistently more take-up for sessions with shorter poses. Even so, we were pleasantly surprised to see a higher than expected number of artists join us for this long-pose study.
We started with two 5-minute warm-up poses; both standing. I then took all the time I required for fidgeting into a seated pose that could be sustained for 90 minutes – two halves of 45 minutes separated by a 15-minute break for tea and biscuits – without it becoming a hideous exercise in the endurance of pain, cramp and/or numbness.
Warm spring sunshine brightened the whole day to an extent that not only did we not need heaters but artists even requested windows and doors be opened to relieve the stuffiness. The trade-off was feeling occasional chilly breezes at my back, but overall: what a contrast to the horribly cold modelling conditions of just a month before!
My pre-pose fidgeting proved worthwhile as I reached the finish without experiencing any physical discomfort or needing an unscheduled stretch-break. It had been a long day but a lovely day. I had been well looked-after, enjoyed the work, met nice people, and felt good. Now all that remained was a two-and-a-half hour journey home… 🙂
Pose minutes, 2:30pm-4:30pm
Part 1 : 5, 5, 45.
— break —
Part 2 : 45 continuation.
Artworks
With apologies to artists I’m unable to credit.
Royal Tunbridge Wells in Kent is quite some distance outside my normal catchment area for life model work. Too far to justify travel for a standard 2-hour booking, unless making it part of a full day-out. When Tunbridge Wells Life Drawing group changed its format, however, to incorporate two sessions in a single day, it became viable.
The most decisive factor persuading me to take this job was the manner of invitation. I’d wavered at a one-session offer, but when the group’s organiser came back with a double offer, in a way that made me feel truly wanted and appreciated, I was in. This may make me seem sentimental, vain or needy but such things make a difference.
The morning was sunny and my two-and-a-half hour journey was smooth, so I was in good spirits before we’d even started. The first session would focus on poses of short and medium length; the second wholly-separate session would be focused mainly on one 90-minute pose. This blog post covers the first session.
We began with a 10-minute warm-up, after which poses ranged from 2 to 15 minutes taking us to our break. For these poses, artists were encouraged to try drawing in the pastel style of James McNeill Whistler. Famous Whistler witticisms were read aloud but I confess my own knowledge is limited to Monty Python’s Oscar Wilde sketch.
Many artists gamely embraced the Whistler challenge, while others found developing their own personal styles was challenge enough. I’d quickly learned that this is a very relaxed friendly group where any approach to making art is welcomed. I even happily consented to photography of me in pose – remember, artists: consent is essential!
After tea, biscuits and a nice mingle at break-time, we finished with a 35-minute pose that took us to 2pm. I made it a standing pose, which was appreciated as I was given to understand most models sit or lay down at this stage. I figured there would be time for sitting in the long-pose session due next. This had been an excellent opener.
Pose minutes, 12pm-2pm
Part 1 : 10, 2, 2, 2, 2, 2, 3, 10, 15.
— break —
Part 2 : 35.
Artworks
With apologies to artists I’m unable to credit.
Venue: The Village Community Hall, Little Mount Sion, Tunbridge Wells, TN1 1YS.
Artwork by Stuart.
Artwork by Stuart.
Artwork by Stuart.
It was with a heavy heart that I declined an opportunity to pose for Hesketh Hubbard Art Society at Mall Galleries on 28 March as their ‘quick’ 15- or 30-minute poses life drawing model (a prior commitment). As the offer was made on 7 December last year, I’d expected to wait a long time for my next chance. Not so, however!
When on 23 March I was offered this clothed portrait model booking – for a date only two weeks after the date I declined – I couldn’t have been happier. Not all life models relish the prospect of portrait posing, with some perhaps only accepting to remain on the books for nude work, but I’ve genuinely grown to enjoy it.
What one loses in the range of possibilities for self-expression, one gains in having a much more direct – literally face-to-face – connection with the artists. That’s my view, anyway. And having sat for these artists several times over the years, the connection here feels even stronger; it’s like an on-going conversation.
So I sat for an hour, then we all had our 15-minute tea break, after which I sat for one more hour. Normally we’re working in silence but on this occasion it was shattered by an unnerving scream and regrettable public lamentations of someone present having what seemed to be a nervous breakdown of sorts. Quite shocking, and so sad.
Art helps us deal with our inner demons, but we’re all struggling. I hope they’re OK.
Pose minutes, 6pm-8:15pm
Part 1 : 60.
— break —
Part 2 : 60 continuation.
Photographs
All photos © Hesketh Hubbard.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Daniele Urania.
Artwork by Tony Swann.
Artwork by Irene Lafferty.
Instagram reels
This booking at The Star by Hackney Downs – my first of the year – extended a run of having modelled there at least once a year, every year, since 23 April 2015. It’s my longest such sequence at any venue. And this evening was one of the best.
I’ve always loved the space, the format, the ambience, the people, the playlist; in fact everything about how Drawing the Star is organised and manifests. What made this evening special, however, is that it was literally a full house: not one place vacant.
Two free seats at the outset were filled by latecomers before the break. Another artist who arrived during the second half had either to stand or find room on the floor. I love seeing exemplary life drawing groups flourish. Sold out! Standing-room only! Yeah!
After almost thirteen years of modelling for scores of groups, I can speculate on what might make some life drawing groups more successful than others, but I still have no idea what drives the week-by-week peaks and troughs of artists’ attendance.
The only consistent patterns I observe are that when attendance is high, models tend to congratulate the organiser whilst organisers tend to credit to the model. Vice versa, organisers despair of their uncompetitiveness, models blame their own undesirability.
Nevertheless, setting aside all such glibness on our tendencies to paranoia, praise or modesty, it’s an empirical truth that from so much time and effort put into creating this community, if anyone deserves the success of sell-out sessions it’s Catherine Hall.
Pose minutes, 7:30pm-9pm
Part 1 : 5, 4, 3, 2, 1, 1, 1, 0.5, 0.5, 0.5, 10, 10.
— break —
Part 2 : 10, 10, 10.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Annie Watts.
Artwork by Catherine Hall.
Artwork by Louise Cowley.
Artwork by Christian Moehring.
Artwork by Alex McKenzie.
Artwork by Catherine Hall.
Artwork by Alex McKenzie.
Artwork by Catherine Hall.
Artwork by MISHLA.
Artwork by Alex McKenzie.
Artwork by Christian Moehring.
Artwork by Louise Cowley.
steve ritter 