We arrived on the train late on Friday evening of 27th October, and after a long day travelling we were happy to walk along the river Tay to find our digs and snuggle down for the night. We unfortunately missed Jude Kelly talking to Nicola Sturgeon which is a shame, but we didn’t know about that when we booked the train tickets. Perth is a picturesque place, even at night and instantly charmed us with its pretty calmness.
This was a blessing from a fortunate alignment when in late August I happened to be in Edinburgh for an event I was running, just as Lou Brodie – WOW Perth programmer – wanted to chat with me about how best to include a life modelling workshop in their festival. We met up over coffee and I talked her through the logistics. It’s a bit niche so I was confidently able to say to her that no one else around does what I do, even if they do a life modelling workshop, it’s not feminist! Anyway, it was a huge privilege to work with Lou, whom I found to be very positive, sensitive and considerate.
Naturally I love to travel with Spirited Bodies and be part of WOW so was privately keen before I dared to imagine it might be a possibility! I was not expecting her to pick someone who isn’t Scottish, but there seemed a strong enough case for it. I decided to go with the interview format like I’ve been doing sometimes at Stories of Women recently and before that as well. I looked for models in Scotland that I knew already and two came forward though in the end only one made it – Aimee McCallum and she was very happy to speak about her experiences. I had met her in Summer ’16 and again this August so seen parts of her journey.
She introduced the event boldly and evenly with fine poses to warm the audience’s hands though the room was not cool. With a wooden floor and a very big pile of cushions within a circle of chairs looking inwards… Aimee began to describe revealing herself through her art, to her family, and continuing to be liberated. For her first degree show she had created a photographic image of her and her boyfriend nude, overlayed with kaleidoscopic patterns. It was about the ritual of covering up the body; so she was exploring the idea of being naked for art before she began modelling.
At the point of asking the women if they wanted to try there was a very high positive response rate! Certainly we had more women modelling than drawing some of the time and it was very relaxed! You could tell that the women did not mind if they were not being drawn, they were just happy to be chatting together in this liberated way. And listened to. Many women tried – about 9, and one artist simultaneously breastfed whilst drawing. Sometimes the baby couldn’t be quiet! The models had a lot to say.
Getting naked in front of friends, attitudes towards nudity in front of children, growing/shaving the bush, sex after childbirth… it’s an intimate space and not being so many of us made it perhaps cosier. The conversation was recorded – for Lisa’s podcast called The Hot Bed Collective; she was taking part as an artist and model. She had come to run the ‘Let’s Talk About Sex’ session on the Sunday, and thought my session might make for rich material for the podcast. Everyone in the room was fine with that luckily, and it’s nice to think some of our spontaneous meanderings are not lost!
WOW as a whole is an opportunity for all women to get involved and be listened to, to learn and to share and there were many platforms going on. I could only get to a fraction.
In the Teenagers with Gemma Cairney session I particularly liked how articulate some of the young women were, and very entertaining with it. Gemma is extremely positive and was helped by the audience with advice like what to do when your friends are critically bulhemic for example? The girls themselves described an inadequate education curriculum and I wondered about how to get into giving sex and relationship lessons, it could take me a while but I do feel I have something to offer.
In the Shame session they explored the horrific amounts of (toxic) shame that women experience and also the basic need to feel (healthy) shame. The fact that speaking out is so powerful and healing so we must do it more and more. The speakers covered abortion, fat and trans shaming in particular from their unique experiences. A memorable question from the audience pointed up the invisibility of age, and how that still affects us all.
It was a privilege to get so close to some of Louise Bourgeoise’s work in the gallery next door – including one of her giant spiders, most awesome. Also prints of hands and arms reaching, connecting the legacy of her handing down her egg to the next generation. As she had grown older, her artistic assistant we were told, became her carer, and the two roles fused. Literally, very touching as intertwined hand prints testified.
When I first came across WOW a few days before the first festival in 2011, I was so excited, couldn’t wait to go. I was incredibly moved by the powerful force that felt like the beginning of the more mainstream and blatantly visible feminist movement coursing through our culture at the present time. The voices in the festival rang loud with empowerment and calls to action, it was thrilling. I was able to share the concept of Spirited Bodies to an audience in the festival hall including a celebrity panel, and Jude Kelly offered to host it which made me so happy! It has been a nurturing and developing relationship spanning events over several years and has introduced me to many wonderful and enriching opportunities.
Perth is a beautiful place to visit and quiet too, I hope to return sometime and spend longer there. I also hope that WOW continues to grow in the region, as this was a very ripe and promising first festival in Scotland.
On the eve of my travelling to the Highlands in late July, arrived an email from Joanna of All The Young Nudes – the Scottish life drawing organisation that runs groups in Glasgow, Edinburgh, Dundee and Aberdeen. I was invited to bring Spirited Bodies to the Edinburgh Fringe festival again, as one of ATYN 4 special events there. I was offered dates and was immediately keen; August generally being quiet meant I had time, and it had been such a fun gig last year.
I first worked with Joanna in 2013 when Lucy, Thelma and I had driven to Scotland and created 3 separate Spirited Bodies events – one in Glasgow at The Flying Duck with ATYN; and two in Edinburgh – one at Marchmont St Giles Church hall, and one at St Margaret’s House (formerly Arts Complex).
Time was short as the next day I was travelling North, and for all I knew might well have poor connectivity once in the Highlands. So we quickly arranged a date, and I made the necessary bookings for transport and a room. I also put out a call on social media to let people know that I was coming – and was looking for people to try modelling for the first time, as well as for experienced models keen to join in. Steve would unfortunately not be able to join me this time due to work commitments, which he was very sorry about, partly because he likes joining in the modelling, also the social aspect of meeting all the models. And then there’s visiting stunning Edinburgh!
I had about a month to prepare, and gradually a mix of newcomers, familiar faces and experienced models got in touch, interested in taking part. A lovely variety and refreshingly all seemed most genuine. In plenty of time before the event there was a group of 10 models emerging, and I had to turn several others away. I then set to sending them as detailed instructions as possible on what to expect, especially for the total newcomers. I described a couple of poses that we would recreate from last year, and in a later email outlined the full pose schedule. There would be 4 poses in the first half, then a break, followed by 5 poses in the second half. Our venue was the light and spacious Whitespace at Norloch House.
We would begin with the chain of movement pose where the models are positioned in a circle and take turns to move a little until they touch the model next to them. At that point they freeze in a new pose, and the next model is released into motion, so that at any one time, one model is moving and the rest are still. I advised them not to leave themselves in too awkward a position at the moment of freezing, as it could be a while till they could move again. I also said they could modify a tricky position to deal with that very predicament, so there was flexibility, and the models’ comfort was paramount. This is meant to be a positive and empowering experience of being part of the creation of nude art as models, and is not the same as modelling alone for a job. The models are not being paid, so they are doing it to gain experience, whether towards getting work, for personal reasons or because it’s something they enjoy.
The second pose was a 5 minute dynamic pose where they would balance the space, which means spreading out across it evenly, rather than the relatively tight circle they had just been in.
I abandoned the pose I originally had in mind to go next. This was because the session was half an hour shorter than I had thought! So I trimmed a few poses by several minutes and scapped an idea for a court scene. I considered that this tableau would be the least simple to put across with 10 nude figures. Plus in the interests of gender equality I would have to insist on some of the women standing for the roles of judge and lawyers, but I didn’t really want to do that as they’d all been stretching themselves considerably in the previous poses.
The following pose on the agenda was a recreation of Gericault’s famous Raft of the Medusa, which we have done before at Spirited Bodies, most notably in 2012 at a Christmas event in Mortlake. This suits a longer pose, and 25 minutes was scheduled. With a more coherent tableau, artists may hopefully be inclined to draw the whole scene, however challenging in the relatively short time. Several figures are lying down as either dying or dead, on what remains of a shipwreck off the coast of Africa (the scene is based on a real life event that happened 200 years ago). Some upright figures are looking out scanning the horizon for help. There is a sense of urgency and poor weather conditions heightening the drama. Overall the picture has a diagonal trajectory which informs the gaze and gives it direction.
I asked if anyone was by chance prepared to stand the duration. I encouraged by pointing out that standing figures are often more likely to be drawn, and it’s good practice for any budding new models. A willing participant came forward and I suggested distributing his weight between both legs to make it easier, and in any case that would lend an appearance of strenth since his role was as a leading figure in the ensemble, perhaps even mimicking the position of the mast of a ship. Another new model sat by him on a chair, also looking out to the horizon. Several models were strewn across the raft, less than alert if maintaining interesting angular forms, while two experienced models took on the most challenging roles centrally. Jude from Cumbria kneeled in the poise of a desperate prayer to the heavens, holding an expression of fear and dread throughout. Behind her a male model was upright on his knees, mainly on his right knee and twisting his body to the head of the raft. Our picture was complete and a very fine recreation it was.
As the pose drew to a close, we had 10 more minutes until the break, so I brought forward a pose from the second half. This was another revisiting of a favourite pose from last year – the models imagine that someone they weren’t expecting to be there, walks in the room! Someone whom they might not wish to be seen by when nude, or who might themselves be embarressed to witness the nudity. It makes for a potentailly expressive gesture, whether the shyness of a new model, or the out there brazenness of a seasoned professional.
The break arrived and the models were most ready for it. They checked out the drawings of them, chatted excitedly, and we made use of a nice evening light outdoors to capture a group pose in robes. It was just a 10 minute break as we wanted to maximise the modelling and drawing time which already requires more time between poses than a usual session, with so many models including novices to arrange.
We began the second half with three x 3 minute poses. My direction to the models was simply concerned with their connection with each other; for the first pose they would be huddled together, the second they would break away a bit, and for the third they were to be completely separate and more individually engaged with the artists. Within that they could find whichever poses felt right for them.
After this burst of dynamism they settled into the final long pose of about half an hour. The scene was paradise, with strawberries! They could find more comfortable positions, holding strawberries which I handed out once they were in pose, and some of them were relating to each other. All The Young Nudes had brought some pillows and pieces of fabric which were made use of, as well as two large arm chairs which belonged to the venue.
It was lovely to see how the artists had risen to the challenge of drawing ten models! Some beautiful works I am sure you will agree. The models themselves had given a lot, many of them trying something completely new and very much embracing the chance. I hope they find many more opportunities to pose for art, feel comfortable nude, as well as share the joy of this liberation. It was wonderful to meet them, and also spend a bit of time afterwards together over a drink in a nearby pub. We were lucky to find enough space in a bar in central Edinburgh during festival time to accommodate our large group. Fortunately Keira from All The Young Nudes guided us towards The Red Squirrel where we quickly found a couple of tables together.
Finding out what motivates people to get involved, and how they found the experience makes the occasion more whole. A few artists joined us too, so some drawings were being shown.
This event was a lot of fun and most enriching. I hope to return sometime.
FAO Esther: an email arrived from Scotland on 22nd July. All The Young Nudes wondered if I might be about in Edinburgh in August, to hold an event with them for the festival. We hadn’t been thinking of it but it was within the scope of my schedule and I didn’t hesitate to book it in. It had been 3 years since my last trip there, with Lucy and Thelma. We had done 3 events across Glasgow (with ATYN) and Edinburgh (with Edinburgh Drawing School at Marchmont St Giles parish church centre, and at Arts Complex, St Margaret’s House).
The event would be held at Studio 24, an alternative nightclub in the heart of the city, and a festival venue. Joanna, director of ATYN, reckoned we could comfortably fit about 10 models in the space. Last time we’d collaborated and I’d put a call out, just 3 models had come forward and all were professional. We had found first-timers for the church gig, but I considered that perhaps ATYN was more daunting at the time, for a newbie. The full-on music and nightclub atmosphere might not suit the more nervous types we were appealing to. It required a certain amount of confidence just to step up to that opportunity in the first place. In addition back then we weren’t so well known, especially in Scotland. It was the first time that such an occasion had been presented and the response was more tentative.
By contrast, this time the people properly groomed by social media no doubt, were ready for us. I was inundated with interest from potential and professional models alike. In the interim years ATYN have expanded and not only operate in Glasgow and Edinburgh, but also with regular weekly sessions in Dundee and Aberdeen. Joanna is furthermore preparing to export her brand of life drawing abroad to beyond the UK and even Europe, such is the popularity and accessibility of her unique set-up.
It seems in many parts of the UK life drawing (and modelling) have expanded, gone mainstream; so it was lovely to feel the increased appetite and enthusiasm. It in fact felt greater than presently in London where ever more similar opportunities are available and there has possibly been a saturation.
I quickly signed up 10 models – a good mixture of experienced and not, male and female. ATYN are famous for their music playlists and as I constructed a pose schedule including a couple of (now familiar to the scheme) movement poses, I liaised remotely with the music man. I remembered the wonderful eclecticism of the score last time, and while I wouldn’t attempt to unduly affect Pete’s choices, I was really keen to align the movement poses accordingly. A few days before the gig he sent over his Spotify setlist for our session and I spotted Clark’s Upward Evaporation; a suitably timed and ambient piece that lent itself perfectly to the seeds slowly growing into full bloom pose. Also catching my ear was Oneohtrix Point Never’s Ships Without Meaning, perfect for the models in a circle making a chain of movement pose. Just one moves very slowly at a time, until s/he touches the next, and hence the chain of movement.
Having emailed the models with extensive instructions and notes on what to expect, they were already well briefed and we easily got into our groove during the bonus hour before the event in which to practise. We physically ran through the tableaux and I outlined some practicalities. Despite a few last minute cast changes and at one point having a total of 12 models arranged, when the time actually came, there were as originally planned 10 models including my partner Steve. Steve wasn’t in all the poses particularly the shorter ones, rather helping me to photograph them, but he joined in 4.
After a beautiful day climbing Arthur’s seat and the nearby hills, we arrived early and met Charli who was managing for ATYN, as well as Keira who was also involved. We set up a space against a brightly painted wall of the rectangular space, opposite the bar. There was strong (blinding) lighting directed on the model space, and a separate corner allocated for models’ belongings. The DJ booth was in another corner and Charli was happy to manage the music so that it was quiet when I needed to address models between poses, for the set-up and let the artists know the pose length.
I was really pleased with how smoothly everything ran, all the models working so well together (mostly strangers to each other) and good vibes all round. Here is the pose schedule as it finally flowed on the night (some poses were shorter than planned as the break was longer, and set-up each time had to be factored in too);
5 minutes dynamic pose with all models connecting just minimally
10 minutes models in a circle, chain of movement with one model slowly moving at a time until s/he touches the next
10 minutes models pose as if family or anyone from their lives who may be shocked to see them life modelling walks in (if there is no one to be shocked that’s fine too!)
5 minutes slow movement growing from a compact to an expansive pose
10 minutes scene of witches ceremony
25 minutes scene at the beach
Here are some more images from the session.
And here is a little feedback from one of the models I want to share;
“So glad I got to take part in this and can’t thank you enough for the opportunity! Modelling together for the first time was definitely the best way, I as a new comer to life modelling could get inspiration of others and also connecting with people in such a vunerable setting is inspirational and phenomenal! The moving poses were one of my favourites both the short growing pose and the group connecting and moving with one touch was so unique and inspiring! I really hope to take this experience and use it as inspiration if I ever get another chance to do this again! Thank you again and hope to see you again!” Aimee.
So sweet, makes me feel very warm 🙂
We look forward to taking Spirited Bodies to Scotland again sometime, as well as to other destinations. With gratitude for this beautiful calling.
Steve will also be documenting the event shortly on his blog, with quite a few more of the superb photos!
A fusion of art forms, experimental creativity, and a healing space.
Meditation circle to begin; focus and calm.
Slowly moving as a group, in a circle
Like flowers growing towards the sun.
A pregnant woman and a midwife pose together.
A large paper everyone draws on
Outlines of women on top of each other, coloured in.
Playing instruments we didn’t know the names of
Spread out on a picnic rug to sample.
A group symphony of sound, and a tableau of nudity.
Here is the women’s collaborative soundscape, led by Sarah Kent.
Some feedback from the women’s session
“I can see retrospectively that my belief and trust in myself got totally wrapped up into the dynamic of my relationship with my ex. And I had lost my faith in myself. I didn’t think my body was mine anymore. When shit hit the fan it was my body that I blamed and victimised. When I gave myself permission to process what had happened, I had the revelation that I don’t exist to please anyone else. When I posed for Spirited Bodies I felt liberated. To be naked, without sexual purpose, was the ultimate declaration of self. This is ME. This body is mine.” Ellie.
“I really enjoyed the day, key thoughts:
– very alternative
– open and welcoming
– a bit experimental which is probably not for everyone e.g. Joint drawing was a bit 1960s art ‘happening’.
– the music and movement component was interesting and Challenging to draw.
– I enjoyed the modelling experience and felt very comfortable. I guess I also realised how comfortable and at home i felt in my body and pregnant. it felt therapeutic in some ways.” Philippa.
Here is the mixed collaborative soundscape, again led by Sarah Kent.
Kathy Dutton writes of the day
“#drawing #live capturing the essence of continuous movement #observing each second and putting it onto paper #softly drifting into sound and seeing only. #spiritedbodies
1 minute #drawing capturing the #curve of the body and a #moments #movement #spiritedbodies
During the event ….I felt our minds connected in a way that made it easy to work in silence…with only the sound and our intention. The circle at the start and the spiral within the meditation rippled into our consciousness subtle yet present… it surprised me how a few people drew the spiral we connected with in the visualisation
The soundscapes reached into us and made us melt into energy… connected by the sound into each moment, and the intense heat of that day.”
I wanted to cancel a week before; there just wasn’t enough interest. From models or artists. It was a very painful feeling, tinged with failure, just when I had felt like things were getting back on track. I’d quit smoking a couple of days earlier, and emotions were rising to the surface, after a year or so’s burial. Most of my ambition stifled in a dense cloud, while I stumbled vaguely forward. A sleepless night of crying in my lover’s arms. But I picked up the reins the next day and did some more emails.
A few days before and still not enough women to model, let alone artists to make it seem worth finding the women. All I could rely on was faith, and perhaps a few reliable supporters and friends. Meetings with Alessandra, who was helping to prepare the women’s session, and Sarah who was again bringing her healing sounds, got me fired up again. Sarah and I practised an exercise on her living room floor, lying connected soles to souls. We made our own sounds in rhythm with ourselves and each other, and I felt my face energised, vibrant, while our soles tingled together. Alessandra showed me the gestures connected to different organs, according to Chinese medicine, the basis of her instruction, and I knew that I could make a movement pose work from one of those.
Still I was sleepless in anticipation, but Saturday I completed all necessary tasks for preparation. Stocking up on art materials, checking in with people helping, finalising the pose schedule and booking the taxi. My last email done, I was ready to open some wine when a piece of news arrived which gravely triggered me. I plunged into an abyss of self-doubt and debilitating darkness.
One of the hardest things I have found with Spirited Bodies, is that I give opportunities to people who actually have a lot higher status than I do, say in their careers and earning power. They’ve ‘got it all’, except body confidence, confidence in dating and relationships, or a groovy artist’s lifestyle! And that’s where I come in. I have those things, yet not with qualifications to command a high fee for imparting my wisdom. So I give it away; they transform their lives for a few hours and a few quid, but can I have a piece of their success? It hasn’t happened yet. That’s ok though, because one thing Spirited Bodies has given me, is some really good friends. And that is more valuable to me than travelling the world, having children, a house etc.
There is something I do covet however. Not fame exactly, but recognition (a little more than I currently have), and so the possibility to expand, to relax a little and work less as a life model on a weekly basis.
When the morning came, I was in a state I had not yet experienced prior to doing one of my events. I was raw for sure, on edge in a way reminiscent of myself quite some years ago. It wasn’t a happy place to revisit, but I did remember how utterly wrecked and desolate I had once been more often in my life. Thank goodness it felt almost unfamiliar now. And I had the tools, the know-how, just about, to pick myself up, dust myself off, and muster some impression of togetherness. Just enough.
Sabine picked me up at 8:45am and we loaded the car full of cushions, paper, gowns, sheets, foam… She was perky and I was grateful for girl time. It was a miserable day on all counts, but she shared jolly tales of parties with flatmates, screaming rock tunes with her singing teacher, and learning guitar. We arrived early and found breakfast in Rope Street, before our venue was opened, and we could start setting up.
My rougher edges started to smooth over once we’d done the basics, turning on heaters, buying refreshments for models and artists, unpacking the gear, and, women started to arrive ahead of time. Alessandra was nowhere in sight, but there were women, and that really was all that mattered, apart from a warm room, almost compromised by yet again, dodgy electrics. Sabine and I were on the case, swapping cables, rearranging the room so that posing happened nearer the heat, handing out robes and making sure enough people were naked for the start time. Women artists were ready to draw, and they needed muses.
Alessandra joined us Italian time and took over the programme, in time for Sabine and I to once again, fix the electrics. Heating models in Winter in atmospheric buildings, always a challenge. Ursula was with us too now, and added oomph to the poses, which Aless was otherwise keeping strict Chinese style. Focused on the internal organs with meditation and specific sounds which models made together with each pose, this was a journey through the inner body. Instead of worrying about how big their bums looked, models tuned into their liver, spleen and lungs for several minutes each.
By now, my fear had faded, and at least this part of the day was going well. I could rejoice in that, though there was no time to spare. Not long after 1pm, we had to wrap up, and transfer everything to the larger space, because, however many people showed up for the mixed session, we would have to accommodate Sarah’s gongs and other instruments. There was no way they were going in the small room we had fitted the women’s session into.
Cliff was arriving with easels, and Steve with fuses as we had bust about four in the morning. Sarah was lifting singing bowls up the stairs with the help of her husband and daughter. I fetched a few easels in my dressing gown from the street. Artists were arriving, and I was aware of the sharp juxtaposition between the nutter I had been the night before, on the verge of some wayward collapse, longing to be sucked into the ground, and the switched on artiste now commandeering the Spirited Bodies ship with a brilliant smile!
2pm rocked on, and it was time to get some poses afoot. I called out for nakedness, and some of the usual suspects lurched towards the sheeted arena. A few new faces gladly glided forwards too. For the first 15 minutes we were doing dynamic poses inspired by the emotions of the Lungs – continuing from the morning’s lesson. Moving through sadness to joy, the models opened up in stages, from 1 minute of grief, then 2, 3, 4 and 5 minutes into exhilaration. Sarah crashed a cymbol, rang a few bells and blew on a flute.
Secondly it was the Kidneys for 25 minutes. I instructed models to either cower in fear, or stand tall and strong with courage.
It would have been Liver next, but that was going to involve a lot of gongs (anger), and we’d been asked to keep the noise down during that phase for an event downstairs. So I led a slow movement sequence to the rhythm of the Heart. Standing in formation, me at the front, they copied as I moved my arms extremely slowly (think tai chi slowed down a lot) from hands placed on the heart, to raised high in the air. And repeat, for 15 minutes, raising and lowering, while Sarah made her heartbeat drum noise. I knew I was going slow when Steve called out halfway through. We’d only opened up twice I think. I was conscious that while I regularly do slow movement poses for my work, am considered a specialist, the new models may be struggling with the pace. Nevertheless, they could probably work something out, and I’d suggested if it was a bit hard, to just rest their hands on their heart.
After that, it was teatime, and at this point there was no doubt about it. It was a success; I was a success. It was just a good feeling and such a massive relief. Mainly that people had showed up. I have confidence in my ability to perform and make sure people have a good time, I just need an audience or a class, or both. Marketing isn’t my strong point, and I am so bent on authenticity that social media eludes me quite a lot. It was time to collect dosh and Steve took some pictures of the pictures. Everyone else had tea and biscuits.
With a slight cast change, we returned to posing, now ready for half an hour of Liver. I told models they could change poses at will, but try to be moderate, afterall, we do want to get drawn. I was having a fight with Steve, our arms locked in an arch, under which I could look up at his face. He was pulling the most extraordinary fashion of expressions, and through my exhaustion and exhilaration, I found it hilarious! We’d come a long way in just over 2 months, and he was supporting me magnificently. Halfway through the pose, Sarah came crashing in from silence with gongs. My arms were aching trying to reach up to Steve’s even-bent-over posture so tall. I fell into him as if frustratedly attacking his towering frame. He kept me in place, leaning over and watching me.
For the Spleen, we did 20 minutes of each of us posing as if sympathising with, or blaming the artists, so a direct confrontation or connection. I sat tentatively at the back, looking sweetly at the guy who was shaping us all out of a long piece of wire. We haven’t had that before, he normally makes large floor drawings on a big roll. His wire constructions were genius and I was fascinated. Also I had had enough of being angry in one 12 hour period.
Sarah left her instruments to lead the next exercise. For the Triple Warmer, she had 2 pairs of models lying sole to sole as we had practised before. They were next to each other, and above them 2 other pairs, including me and Steve, formed arches, palms on palms. We were all sounding first ee sounds, and later ooh sounds, alternating, sometimes leaving spaces in order to feel the shifts in our bodies, between vibrations. The group of 8 models collectively created a human resonator. Sarah was the 8th model, and for the first time in her life, her second time in a life session (the first being Spirited Sound), she whipped off her dress after instructing us, to complete the nude composition. We hadn’t arranged this, I am not about putting pressure on newcomers, but it was a welcome surprise. I’d told her she could be dressed if she preferred. The mood had taken her not to be.
About halfway through (we’d asked an artist to time us), those of us standing were feeling the ache in our arms, and were grateful when Sarah decided to drop her arms, as if it had been planned. By mutual consensus we all followed suit.
The final pose was freestyle, and there were now 6 of us posing. Within the 6, there were 2 couples who naturally after the long session’s posing, fell into each others’ arms for some amorous duos. Alessandra grabbed the remaining male model and said, “Look, it’s all about the couples, so we should join up!” Everyone’s a winner!
We ended on a round of applause, and I couldn’t be happier with today’s result. It was totally unprecedented after my night of headfuckery. The hard work had paid off. We cleared up, models bonded, and artists laid their works on the floorboards. Artist Steve Carey hung his wire creations from coat hangers. I was still in my dressing gown, saying goodbye to people till just before our cab arrived. The teacups had been rinsed, drawing boards replaced downstairs, and every last piece of charcoal boxed and bagged. Off we trundled into Sunday evening traffic. Once home, the last few hours at home with Steve before he left again for Essex, were precious. Healing time, after a tumultuous night earlier. Now the love was strong again. I was sorry for having been so difficult, after all he had never known me before in such an anxious moment. It felt unfair to have unleashed myself rather unduly on him, especially when he has only been positive and loving towards me. The awkward emotions weren’t important now. Just the kindness and gratitude for all that we share. I may not be succeeding in every way that I would like to, yet, but there is time. We are still new together, and all the magic that we can create, has only just begun.