Lost in the Hills
My week began with a “sensory” journey up Primrose Hill where we all completed a series of 5-minute drawings attempting to draw from the “sensation of place”, rather than simply completing a load of observational studies. As a painter who’s slowly coming to realise the challenge of drawing with line and without colour, I found the task difficult and felt like I would’ve had more success if I had access to colour. Nevertheless, I completed some drawings that had an influence on my work going forward:
Initial Primrose Hill Sketches, Pencil on Paper
For the latter part of the morning, it was of course time for my gouache to emerge. I got comfy, realised I forgot my pallette but managed to complete two paintings before lunchtime came around:
Gouache studies in Moleskine Sketchbook
For the afternoon, we were encouraged to use an alternative format so I moved away from the standard frames I’m comfortable with and completed a piece in the shape of an oval (see below left). While planning the composition, it felt awkward crushing different elements into a curved frame and I felt like I couldn’t understand the space properly. My second gouache of the afternoon (see right), I felt was more successful. It didn’t have as much clarity as my first morning gouache but I felt the colour pallette worked well.
Afternoon studies, Gouache in Sketchbook
Afternoon studies, Gouache in Sketchbook
A Spectrum of Possibilities
Mid-week we had an excellent introduction from Ewan Clayton on movement and approaching drawing from a more objective, unintuitive manner. In this class we were given a set of instructions to make drawings in a very particular way; letting go of drawing habits and thinking about a strong, slow, pushing when it came to making a line. For the morning we worked in a slow, forceful, stiff and agitated way which was actually extremely draining as I’m usually making quick, loose marks when I draw.
Drawing with a Slow, Strong Line - Ink on Paper
For the afternoon we had a change of theme and worked with the idea of “floating”; using slow, light, curved marks to build up our images. The constant, slow speed was still a bit odd for me, but it was far more enjoyable than the stiff, frustrating lines throughout the morning session.
"Floating" Lines - Ink on Paper
Another Look out of the Window
In Enduring Images, we were presented with another chance to tackle “The Woman in the Window” through the lens of tutor Katy Papineau. We began the class reflecting on the different meanings a window can hold, and then did a quick series of drawings exploring different approaches to composition:
Quick Sketches Exploring Composition
Throughout the lesson I was given some great advice regarding balancing a drawing and painting practice:
When drawing it’s good to use both pencil and colour.
Drawing from life helps you understand light. Use drawing from life to record light so you don’t have to invent it in your personal work.
When studying from other artists, choose to study artists who draw differently from you so you learn new ways to see.
Gouache Paintings on Paper
The paintings I produced in this class had a different feel to the ones in week 1; the figure was not as prominent and there was more variety in my brushwork. I’m not sure whether it was due to the angle I was sitting relative to the model, or that the poses simply didn’t fit with my compositions, but I think it’s evident that I struggled painting the figure today and these are works I might go back into at a later date.
Drawing in Peace
I was extremely privileged this week to have private access to the closed-off Assyrian section at the British Museum where we studied intense reliefs featuring a series of lion hunts. After focusing initially on the accurately depicted lions, I then became interested in recording the subtle patterns and foliage intertwined throughout the different scenes.
Relief studies in Sketchbook
I will end this week incredibly excited as I’ve already managed to get to Adrian Ghenie’s latest show at Thaddaeus Ropac (and what a show it was). I might write a completely separate post documenting my experience and studies of the show, so make sure to sign up if you’re interested in being notified.
Detail of Ghenie Painting
