Saturday 16th Novembern2019 I had Julia Gómes Avilés over as a model again. I wanted to express her dancing skills by a dynamic pose in which she holds her foot and combine it with her bodily features running off paper like natural waves.
It was time to return to my roundism style and the position of this one inspired to me show the flow her hips suggest.
Model sketching time again. My mind was occupied with many other projects but live model sketching always has priority. Whereas skecthing often is called the primary process, live model sketching I consider to be primus inter pares.
No doubt about it: cats are portals to the other side and through the vortices of their curly tails we are directly drawn into it.
I saw this great vintage picture of a nude on the roof top of an open van and I liked the styled planes it already showed: the squares in the open door, some round ones in the model and some great diagonals. The woman has great nipples and I guess I will not post this one on some of the social media.
I found a great vintage photo online that inspired me to put this female body on paper using triangles and round shapes, strengthening the pyramid like pose.
Last year I used dancer Julia Gómez Avilés as a model. Next to being a wonderful person for an artist she is ideal because of her flexibility.
As you may have noticed by now I am keen on vortices. They show an endless sequence of swirls, almost like a singularity. Some say they lead the way to eternity, others consider it to be just a mathematical principle.
Drawng often is called the primary process and I like it so much, brimming over with an ocean of ideas, that I forget about transfering those ideas to the secondary stage: the canvas. There always is something to dust off and in 2017 I used ‘Nude – 03-09-15’ to work out a bigger theme, called ‘The Widow of Aleppo – 18-05-17’, after Rembrandt’s painting Jeremiah lamenting Jerusalem’s destruction. Since the war in Syria sort of came to an end but the people still suffer, I found it appropiate to do this anew but then in oil.
I was listening to ‘Between the sheets’ by The Isley Brothers when I completed this one so I tried to capture the sensual feel of the song in my drawing. The curvy sheets invited me to render the body in in the same way. At some spots I let the body flow into the sheets, following the diagonal rhythym. I often tell my students true abstraction lies in imagining the impossible and making sound and essential choices out of an endless sea of possibilities. Without making them any art work becomes plane realistic and that is or should be no fun for anyone.