Taking the ladder away

1934 – work in progress (42 cms x 60 cms charcoal and pastel 2017)

“Drawing…can get you through things. It’s like in an old Portuguese joke, in which a man is up a ladder painting a wall with a large brush. Another man comes along and wants the ladder, so he says to the first ‘Hold on tight to the brush, I’m just taking the ladder away…’ This is what drawing is like – it grounds you, it connects you so intensely to the paper, through the pencil or the nib or whatever you use, that it’s a lifeline when everything else is taken away. Things can go wrong, but if you just hang on tight to the paper and pen everything will be OK.”

Paula Rego, reported in Paula Rego by Fiona Bradley (Tate Publishing) p.42

 

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Archaeology

Archaeology: Anglo-Saxon Pots (A4 charcoal and watercolour 2015)

Drawing in a museum can be enormously rewarding, if only because you have access to a range of still life objects so very different to those cups and vases you have at home (unless you’re a member of the Getty family).

It’s also interesting to compare the reactions of other museum visitors in different countries.  In the US – New York at least – people will come right up to you and stare at your drawing, sometimes even offering advice and comment. In Europe, they’re more likely to ignore you, at the most letting it be known through complex body language that you’re somewhat in the way.

In England, dear land of perpetual embarrassment where it is customary to apologise for things you haven’t done, your fellow visitors will stand ostentatiously to one side, staring hard at the object, letting you know that in no way are they looking at your drawing because from this angle it would be nigh on impossible to see it. Even if they wanted to. Which they don’t. Not because it isn’t any good, you understand, but because it’s none of their business. You carry on drawing – I’ll stand over here. Sorry.

These pots – don’t you love a grid? – are developed from some Anglo-Saxon objects in Oxford’s Ashmolean Museum. I was able to draw them, unhurried and unmolested, over a number of visits and then assemble them in this minimal yet graphic style.

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Just serotonin?

Silver white light (42 cms x 59 cms charcoal and pastel on Hahnemuehle Nostalgie paper 2017)

Recently, during a difficult period, I took enormous comfort in drawing. In Peter Steinhart’s book, The Undressed Art, I found the following passage:

Artists frequently compare the way they feel when they’re drawing to the sense of heightened awareness reported by practitioners of meditation….Jim Smyth, who has taught drawing for twenty years, says, “I believe the drawing process produces serotonin and endorphins in certain individuals. I see people who are not aware of their arthritis pain when they’re drawing. When they stop drawing, it comes back. Smyth once let someone monitor his brain-wave activity while he drew. “When I was drawing I would get alpha waves,” he said.

Alpha waves are electrical impulses in the brain that are associated with calm and focussed attention, Steinhart reminds us. Similar studies of meditation practitioners have revealed increased alpha, theta (these are associated with imagination and creativity) and beta waves (highly focussed attention).

Smyth believes the chemically induced sensation of pleasure is what keeps many people drawing. “There must be some physical reward for some people,” he says. “Otherwise, they wouldn’t do it.”

Well, it might have been a need for serotonin that urged me to draw when I was feeling low – certainly lack of it can result in depression and insomnia – but I like to feel it’s more than just a neurotransmitter ‘fix’. Isn’t any creative act – whether making lines on paper or following notes on a musical stave – a way of imposing order on the world by creating another world where you are in control (however much it might sometimes feel that the line is controlling you!). The end result, a unique piece made by your own hand, is a bonus: something to remind you of that time when you had your hand on the wheel.

The above drawing is one of the ones I completed during this time. Based on a rough sketch of the excellent model in the life drawing class I attend, I drew the figure in charcoal and dissolved some of the edges into the pastel background. I’m trying to get away from enclosing everything in a black line and this approach, I think, worked well. The addition of white pastel produces – I hope – a mystical feel, as if the figure is conducting some sort of energy. And not just serotonin!

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Suffer the children

Refugees (20 cms x 40 cms charcoal and pastel 2016)

It’s always the children, isn’t it? It’s always the kids who get it.

When the strutting despot, Putin, decides to help out his old pal, genocidal tyrant Bashar Al-Assad, before too long hospitals and schools and aid convoys are bombed; the UN Security Council gets angry and the usual suspects play their veto cards like this is some bizarre game where the person who wins is the one who does the least. Before you know it, Iran is implicated. The EU discusses sanctions but somehow nothing happens. The British government says it’s OK to sell fighter planes to countries where human rights mean even less than women’s rights. Refugees pour over borders and citizens panic: far right-wingers make a play for government by stoking up fear and dread in the electorate. Desperate people cram boats made of scrap metal and hope and drown in the Mediterranean, their bodies washed ashore in Greece and Italy. For some reason we cannot remember the lessons of Auschwitz, Hiroshima, or the killing fields of Cambodia.

Then, in a town called Khan Sheikhoun, government aircraft drop bombs one Tuesday morning while everyone sleeps. Mohammed Rasoul, the head of a charity ambulance service, tells the BBC that his medics had found people, many of them children, choking in the street. Blue lips, foaming from the mouth, eyes reddened and sore: it seemed certain this was a chemical attack. Putin condemns the ‘groundless accusations’ of Syrian government responsibility. Trump slams the stable door knowing the horse left long ago.

Once again, there they are, wrapped up in blankets torn from someone’s unmade bed or held in a weeping father’s arms – the children. The collateral damage. Twenty-seven short lives lived in fear snuffed out, just like that.

Some time later, Bashar Al-Assad wakes up with a start in the middle of the night; all around his bed are the pale, ghostly faces of all the children he caused to be murdered in order to cling on to power. They do nothing but stare, the room feels airless with pity.

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