one big PINK composition



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J'ai mis en page en une planche « toute » la série de dessins réalisés avec la modèle A.
Performeuse-modèle exceptionnelle, elle influe sur mon trait et m'emmène dans des expérimentations que je ne maîtrise que peu ou prou.

J'ai du lâcher mon crayon rose (mon préféré) avant la fin de la session, je n'avais pas le temps de le retailler. Les 3 derniers dessins sont faits au crayon à papier « banal ».

Ce sont plus que des « poses » qu'elle enchaîne dans le studio, ce sont des tableaux vivants, des impros statiques théâtrales dont je me prends l’énergie en pleine gueule et dont je ressors épuisé et hagard.

Bon Dieu que j'aime ça.

english translation: A 1-page composition made from « all » the sketches when A was modeling.
Amazing performing model, she has a huge influence on the way I draw and bring me in some experiments I have no idea how I got there.

I had to abandon my favorite pink pencil before the end of the session, as I didn't have time to sharpen it. The 3 last sketches are basic paper pencil.

It's much more than « poses » she is holding, it's living paintings, statics-theater improvisations, which energy hits me in the face. I end up from those completely exhausted and confused.

God, I love that:)

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4 Comments

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4 responses to “one big PINK composition

  1. PainterWoman

    "It's much more than « poses » she is holding, it's living paintings, statics-theater improvisations, which energy hits me in the face. I end up from those completely exhausted and confused.God, I love that:)"I sure know what you mean. There were times when I felt as if I was out of my body, hovering above and guiding my hand to draw or paint. Besides feeling exhausted and confused, I also often felt lightheaded. Very strange feelings aren't they? I had to stop telling people about those out of body experiences because they looked at me as if they were going to cart me away in a straight jacket. I think only artists understand those feelings. Love the pink page and the many poses. I have quite a few pages like this with lots of poses, unfortunately, some of the drawings are on newsprint and after so many years, the paper is yellowing and brittle. Hmmmm….I wonder if I should photograph them. I think it is time to go through the many rolls and keep the favorites.

  2. pfelelep

    it's the kind of experience that, even with all the will of the world, no one can explain: it has to be experienced "from inside", I guess.as I tell my student-friends: even if you don't want to be too proud, use material that will stand: you'll never know what will become of your artwork, and will be soooo frustrated if the material fails you.and avoid drawing on both side of a page (even for saving paper): if you get 2 great drawings on both side, you won't be able to "save" or sell them both.

  3. PainterWoman

    Originally posted by pfelelep:

    soooo frustrated if the material fails you.

    Very true. I don't think I've ever used the other side. I don't even let my 2 and 1/2 yr old grandaughter use the other side when we do our painting class. I have cut up many old watercolor starts of my own into 4 x 5 in sheets for her to paint on. I'm saving every one and plan on putting them in a little portfolio for her. Sometimes she scribbles with the brush and makes mud but other times, she slowly makes different length lines, shapes or circles. Then she'll take an oil pastel and make marks on it too. It's really insteresting watching her.

  4. pfelelep

    sounds already interesting. :)I don't have kids, I can only watch "other's" (from whose I'm already learning a lot).

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