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.
Three weeks after my debut visit and two weeks since my second visit, I was back to sit for my third and final portrait modelling session with Ilford Art Society this year. Whereas my previous bookings were focused on specific areas (‘tone’ and ‘line’), this one was open for the artists to express themselves in any way they preferred.
For me the job was the same as before: sit still facing forwards in a single pose of my own choice in two parts, with a tea-break but no stretch-breaks. In this format without props, costumes or significant bodily self-expression, options for variation are limited. Still, I had a go: face slightly to the right, head tilted slightly up, lips slightly parted.
If the artists’ primary efforts are directed at capturing what is before them, rather than comparing it with what has gone previously, then possibly they wouldn’t have noticed such subtle tweaks at intervals of weeks. It doesn’t matter, though. It’s a happy group that enjoys its meetings and its practice… and I was happy to play my part for them.
Pose minutes, 7:30pm-9:30pm
Part 1 : 50.
— break —
Part 2 : 43 continuation.
Artworks
With apologies to artists I’m unable to credit.
It’s not unknown that when I arrive at The Conservatoire the nature of my long pose for the evening is wholly undecided, and only resolved after some light brainstorming between me and tutor Victoria Rance. This evening, however, Victoria arrived with a clear vision in mind…
I was to recline with knees raised, head slightly propped forward, one forearm raised, the other arm down but slightly out from my torso. No problem, although it might be a tad full-on – like a birthing position – from certain vantage points. There was room for artists to move about and choose their perspective, however, so it wasn’t a concern.
Victoria did ask if the palm of my raised arm could be flexed back, facing the ceiling. I would have loved to oblige, but it would have been hard to maintain for 100 seconds, let alone 100 minutes. After warm-ups I got into position and remained there for a full hour, then had a break before resuming for a further 40 minutes to the end.
I was offered stretch-breaks every 20 minutes, as is standard, but for a pose like this, where no part of me is strained, I prefer to keep going for as long as I can rather than having the rigmarole of repeatedly getting back into the precise same position. Plus it works out better for the artists. As these excellent drawings demonstrate…
Pose minutes, 7:30pm-10pm
Part 1 : 1, 1, 1, 5, 10, 60.
— break —
Part 2 : 40 continuation.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Victoria Rance – warm-up pose.
Artwork by Victoria Rance.
Artwork by Victoria Rance.
Tanner Street life drawing is dead. Long live London Bridge life drawing! Following the permanent closure of its much-used venue at 47/49 Tanner Street, the group has found a new base 500m west, near London Bridge station, in the community room of Simla House on Weston Street (entrance on Dunsterville Way).
With any change of setting, the primary concern for a life model is probably: will I still be kept warm? On this chilly, damp, miserable, mid-autumn evening, the answer was ‘yes’. Also, the space is well-lit and has ample seating for artists around all four walls, plus tea-making facilities for the group’s use in a connecting room. All boxes ticked.
Notwithstanding a pizza delivery rider who mistakenly knocked at the door just as we were starting, the main area is private; we remained undisturbed throughout. Beyond that, much is the same: poses in the round, pose lengths largely unchanged, Cliff still our genial host, familiar faces among the artists. Long may it thrive. 🙂
Pose minutes, 7pm-9pm
Part 1 : 2, 2, 5, 5, 10, 10, 15.
— break —
Part 2 : 25, 25
Artworks
With apologies to artists I’m unable to credit.
Artwork by Cliff Barden.
Artwork by Cliff Barden.
Artwork by Clive.
Artwork by Cliff Barden.
Artwork by Clive.
Artwork by Cliff Barden.
Artwork by Cliff Barden.
Artwork by Clive.
“We’ve known @steveritterlife probably over a decade…” said @themoonandnude Instagram promo – one of the nicest ever written about me, actually – for this event. Indeed they have. In fact we’ve known each other for more then twelve years and it’s still a pleasure to return every time there’s a chance to model at one of their events.
The promo also noted I am “…never ever late…“, which felt like an open invitation for fate to select this occasion to throw all manner of obstacles in the way of my journey. Erring on the side of caution, I set out half an hour earlier than would otherwise have been necessary. And duly I maintained my good record, at a leisurely pace.
Setting to work with a nostalgic head and a warm heart, I progressed through a fairly spontaneous sequence of poses that felt suitable for slightly lop-sided oval of artists. The only premeditated posture was the 5-minute pose, for which I recreated my very first pose at my very first Moon and Nude session. All those years ago… 🙂
Pose minutes, 7pm-9pm
Part 1 : 1, 2, 3, 4, 5, 10, 15, 20.
— break —
Part 2 : 20, 20.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Alan Baines.
Artwork by mi_sketches_.
Artwork by Rosalind Freeborn.
Artwork by mi_sketches_.
Artwork by Alan Baines.
Artwork by mi_sketches_.
Artwork by mi_sketches_.
