Stories of Women ~ part 2 with Jennifer

Ursula was helping me to prepare the space, and put up signage in the building where The Feminist Library is, so that women would be able to find us easily. Not many had booked so I was rather nervous that Jennifer would not have much of an audience drawing her. Jennifer herself and her partner, were sorting out her performance space with a projector, paper on the wall behind her and as well for under her feet. I handed her boxes of cherry tomatoes that I had brought for the dancing part of her piece.

Jennifer Farmer in ‘Seymour & Gladys’

Although I had been nervous in preceeding days, somehow that feeling had eased just on the day, and I don’t think this was unrelated to my period starting, on Friday. It was several days early and for that I rejoiced, as I knew that by Monday the good hormones would be kicking in like reassuring drugs to make me feel confident no matter what. I surmised that my body-mind knew well what it was doing to alter my cycle thus. I would deliver my two events this week on better form once the blood started flowing. That’s the way I roll.

 

I wasn’t expecting many women to come and had got a bit stuck thinking, this is no longer what people want. People are just too busy on social media to leave their homes and actually do something! I’d bought some zines the week before in the same room we were now preparing for the event, and they were made by feminists in their late teens or early 20s. I thought that reading them would give me a good chance to understand the younger generation a bit more, and was impressed at the careful crafting of their poetry, photography, cartoon, article and art filled pages. One interview with some apparently famous on Instagram young style icons, stated that they never went out anymore. They just got dressed up at home with each other, and posted images online to gain approval. This was all they needed to do to rise to success. How depressing. Dressing up can be fun, but so too meeting people, seeing live music, dancing… I felt fondness for my more outgoing youth, and also sadness that those times may have gone for the young now.

Of course, my events often attract older women, so are not necessarily vulnerable to these newer trends. Still I thought – everyone is on holiday, or, there is just too much to choose from in London. That certainly is true. For life drawing alone I knew of several alternative sessions across the city at exactly the same time as mine. I was competing with more glamorous and less complicated events. Not many artists want the models to talk while they pose! What a distraction! So my niche is feminist artists. Well I had done my best job of corralling those I know and who have been supportive before. I think some of them sensed how worried I had been feeling! The other niche is women who wanted to try modelling, and I wasn’t sure that many of those I’d been in touch with would come.

With my hormones happy, I stopped worrying, and opened up to allowing whatever wanted to be. It would be fine however small; what mattered was being in a good strong spirit to welcome women and help them feel at ease. I sent a last minute email to my life model list, offering the women to come draw for free. The added draw was conversation about life modelling. We don’t normally get to do that in person except with friends I don’t think. And women do love to talk…

I had only brought 10 drawing boards with me, fearing the worst. I knew that there are a few tables in the room, which could also be used, especially by painters. Women did start arriving, and before we begun I had run out of floor space that was covered by plastic sheeting to protect the carpet. So I asked people just to draw with pencil – no charcoal! Jennifer needed time to configure the technology, so at 7pm I began by asking women to introduce themselves – I did not know some of them, nor had I been in touch with them. They had seen the event online or picked up a leaflet. They really liked the idea of this unusual event in a women’s space – they were our people!

When Jennifer was ready, we focused on her, as she moved slowly across the back wall, whilst speaking, sharing intimate thoughts on her experience as a model. It was soon apparent; this was not light-hearted. There was some pretty dark revealing, and I wondered how that came across to those who had never modelled before but had been looking forward to it. Naturally I had discussed this with Jennifer in advance, but the most important thing was her authenticity. If she spoke of the very difficult aspects of life modelling, it is because she has done it for many years. She also had a fair few lighter anecdotes to deliver.

Jennifer’s personas, by Maria

Women continued arriving and I had to keep weaving my way from the back of the room to welcome them, and somehow find them a seat from where they might draw. We managed, and it was joyful to see each new face. Unexpected surprises were several professional models from my network making an appearance! A couple I hadn’t met yet but recognised them from pictures. It being the Summer holidays, lots of models weren’t working much, and that turned out to be a massive plus for the event. They had time on their hands to come do some drawing instead. Morimda, who first had the idea of, and initiated Spirited Bodies nearly 7 years ago turned up. As did Claire who had been a life model in the 80s, is a writer/poet and has modelled a couple of times with us before. It was the professional models in particular who really resonated with Jennifer’s words. We have lived a lot of the harder stuff too. I am sure most of the newcomers will never take up life modelling to that long and perhaps overly sustained level that we have, but I think it was some of this challenging content that made Jennifer’s performance more edgy. We all felt some of her pain as she crushed pastels in her fists and smeared the powder across her skin. In very slow movement she drew lines across the wall and over her body. She was marking her journey, and she was in control of it. No pose times were called. Sometimes she didn’t speak for a while and I didn’t know if there was more. She was thinking. I don’t think she had rehearsed lines as such, but had certainly devised a formula, albeit freeflowing and flexible.

She talked about being othered, feeling a responsibility to represent the different minorities that she naturally is – black, queer, fat… and how she’d realised, it wasn’t her job to be that person. It isn’t anyone’s job. There were other things she wanted to do with her life, but somehow she’d gotten sucked into this life model career, because people told her she was good, and she liked quite a few of them. But in the end that isn’t enough. She is also a playwright and performance artist, and I think she wants to be doing more of those things. I first came across her work in 2004 when I was taking some singing classes at Clean Break theatre company. This is a charity for women who have had experience of the criminal justice system, whether or not they have been in prison. A lot had. The company had commissioned Jennifer to write a play about the lives of women in prison, and she had created ‘Compact Failure’, which I saw at The Arcola. It was an outstanding piece of writing that drew you into the world of three disturbed, broken and in yer face witty women.

In the process of preparing this event, I came up against a few new challenges. Promoting such an othered performer, just felt wrong at times. It was like I was exploiting these aspects, after all, intersectionality is a buzz word in the feminist community these days. As a feminist, especially a white one, if your activism isn’t including enough minorities, you may be in the firing line. If you do include them you have to do so sensitively. At the same time that I was negotiating these tricky parameters; as a life drawing event, I am competing with straight forward life drawing sessions, and more commercial events – some that care not a jot for such considerations. At least not to anything like the same degree, and a few happily sex themselves up as much as they can get away with! This part of the industry naturally tends to remind me increasingly of the necessity of what I do, yet I am treading a very fine line and it feels most precarious.

by Catherine Hall

In time, with a look and a few words, Jennifer let me know she’d finished the performance, and I thanked her. We applauded. The next phase would be more upbeat and we turned out the lights to watch Waltzing Tomatoes. The significance of the film for Jennifer, was that it had been inspired directly by life modelling (even if that’s not immediately obvious). It is a successful film she  created a few years ago with Samuel Overington, and shows them dancing in various locations of significance to them. After the short screening, we cleared the space for a little waltz of our own with tomatoes. Ursula and I offered to demonstrate as no volunteers were forthcoming, but it only took a bit of encouragement and soon 4 couples were being paired up to balance cherry tomatoes between their bodies at the points of contact. How that makes you aware of each other, of your connection and how it is you move without dropping the fruit. It seemed a good link towards undressing with strangers and perhaps touching skin in a group pose. Women were still dressed for the dance.

by Irene Lafferty

Meanwhile I scanned the room for those I thought wanted to model and urged them to start getting into a robe. The time was nearly upon us! As the music came to an end, more space was cleared, and in one part of the room, several women simultaneously shed their clothes. They didn’t even need robes now. I advised that they could find positions to pose in, however they felt, and that we would be having a chat during this part of the event. If they weren’t sure what to do they could simply ask as the room contained a great deal of women’s life modelling experience. In the end it was the experienced voices that found a platform for telling their stories, years’ old memories that might not have surfaced publicly before. There were some people drawing, some talking, quite a few modelling, and a bit of multi-tasking! While Jennifer had focused somewhat on life model challenges during her presentation, Morimda wanted to tell all the new models how beautiful they are! As with last month’s edition (with Leo), tales of menstruation in the life room gushed forth. There were horrible experiences with older female artists; how some of us behave differently if modelling for a group of men; how trust with the artists affects everything – how much we will give, and that when there is trust, gender doesn’t matter. Morimda echoed Jennifer’s sentiment that, her blackness is other people’s problem. It can become an issue in the life room, due to lack of familiarity, or socially ingrained low-level racism which manifests in micro-aggressions. Life drawing is whiter than the general population; so a black, particularly female model is a politicised body without even trying.

by Lily

Stories poured out. I had to interrupt more than once to check that the new models weren’t aching to say something. Generally I think they were enthralled. They might not have expected this – none of us did – but it was a very rare situation, and they got that. Real life insights from those on the frontline, from those with decades of knowledge. There are others I haven’t named because I’m not sure they’d want me to. I could not have planned it, and it might never happen again, but everyone seemed to enjoy it so much, I hope that will encourage more similar encounters.

by Irene Lafferty

We ran over, more than half an hour and I had to draw things to a close. I could see my friend Lily who lives miles away packing up her ink, and I didn’t want her to leave before the models had a chance to see her drawings. As a former animator, she captures a lot of expression in a short time. So we put everyone’s drawings out for all to see, and still there was a long time chatting now in smaller groups. Clearing up was a long process, but friendly folk were helping. It is a high maintenance gig, for no financial reward – it just about pays for itself, but not really considering hours gone into putting it together. A labour of love, I must time it appropriately to not wear me out, to not clash with other commitments. To feel it from the heart each time and not be going through the motions. But it is the deep content that nourishes all involved I hope, not least of all me, and that feeds out into my life in ways that keep me sane and happy. I don’t want children, but I do want art.

Body Reflections

The power of life modelling to elevate us from our body image concerns is challenged by the pervasive tendency of mainstream beauty standards to permeate our life drawing bubble.

Before social media, life models largely existed in isolation, rarely knowing one another, merely passing each other during a break perhaps at an art school. Now our contemporary world is fixated with all things visual, and connecting us with each other too. Life drawing and modelling are in fashion again, and images of life drawings as well as photographs of models in pose, amongst other nude art shots proliferate.

Where life modelling was once the preserve of eccentrics, circus performers, sex workers, actors and other less ordinary freaks, it is now much more acceptable in society. While this is progress that may help towards gaining rights such as improving pay and working conditions, it also has a less desirable outcome, I think. The transference of mainstream concerns of the body, to this hitherto removed sphere. When it was taboo to undress for work, life models had to be immune to a certain amount of society’s judgement. Now these worlds are less separate, they are able to affect each other in new ways.

Some models have always been more conventionally attractive, with a look similar to a movie star, for example. The real beauty of the scene itself however is diversity, something we must never forget in the face of potential flooding of glamorised strains of life modelling. There is certainly a place for glamour, as another form of expression with a celebration of design and style, but if that niche dominates visually, there is a danger of a more unwholesome impact. We can’t help but compare ourselves with each other, and never more so visually. So many of us delight in displaying our prettiest selfies, making sure the light is flattering and make-up in place. We hold in our bellies and wear padded bras as we strive to be seen as attractive by others. We imagine we may be liked more if we can get our look “right”, and we are probably correct, at least in the superficial sense that a Facebook ‘like’ has.

A few years ago I observed more of the people drawing me considering trying the modelling, spurred on by my project. Lately I noticed a shift. The artists perceive that it is now more imperative for models to be immaculate, impeccable in appearance, and they sense they cannot compete.

This is not the whole story of course. Much diversity is being celebrated happily in our scene. I just want to push more of that, and personally I am keen to see fewer of the more affected, stylised images of life models. The scene lends itself well to being a site for celebrating a wide variety of beauty – including as it is not usually seen. That for me is the magic.

The merchants of body hatred – the diet, beauty, and cosmetic surgery   industries – are so extremely powerful globally, that they have even resulted in affecting government legislation in some countries, and the direction of scientific research. In Brazil, the state routinely pays for breast implant surgery for young women who profess to be anxious about their lack of mammarian prowess. This solution is considered cheaper than paying for the psychoanalysis that might be needed to truly address the problem. So a plaster is applied, but the underlying epidemic is left unresolved. People become less in touch with their actual bodies, and are reinforced by the government in their thinking that their bodies are a project to be cured, altered and perfected. They are not ok as they are. Body hatred is experienced as the natural status quo; yet somehow beyond Hollywood, South America and Essex(!) many of us do manage very well without such tampering.

Long may that remain, as a society where everyone is fixing their “imperfections” in the lunch break via the surgeon’s knife, is not one I want to be part of. Let’s be proud of what authenticity we have held on to, and celebrate our uniqueness.

As I write I have just arrived at lodgings in Inverness. Across from where I write, a large mirror shows all of me as I am nude now (warm day!) Before opening my notebook I delighted a while in posturing in front of my reflection, checking the chub of my belly. I know that sounds ridiculous to people who know me, as I am slim by anyone’s definition, but also I am premenstrually bloated. When you have a narrow physique, a little extra on your belly really makes a difference, may even be mistaken for pregnancy. But, I am trying to get out of the habit of constantly holding it in. Just let it be. I still can appreciate my form, the more so in front of this revealing mirror!

I check out backviews of my bits, which artists from particular angles would doubtless have seen countless times. I see what they have stared at! Or what men see who I have had sex with. I am awash with curiosity and fascination for my own form as it moves, from different points of view. A boob on top of a tummy above a massive thigh or buttock. Combinations that alone show only part of me, but the eye fills in the rest. I am proud of and grateful for my body which is pretty healthy. Today I feel childlike joy at returning to the beloved Highlands. The constant smile on my face reminds me that what is most beautiful about me is the joy I radiate, not the tummy I hold in.

At Lauderdale House, Clare’s class
In the Highlands: view from Inverness Castle of the River Ness

~~~~~~~~~~~~~~~~~~~~

Two books I recently read inspired parts of this piece. ‘Bodies’ by Susie Orbach describes body hatred in today’s society, and specifically (in relation to this piece) the situation experienced in South America. ‘Animal’ by Sara Pascoe also discusses the problem, and mentions the high rate of cosmetic surgery operations in Essex.

The Stories of Women

After a long break we are back with a new series of events at The Feminist Library. These will be for women only, though I would like to make a mixed event soon too, elsewhere. Also an event in Sheffield is in discussion! It is very special to be at The Feminist Library as naturally we share a lot of values. I have found it a very calm haven with so much richness stored in so many books and other archive material. There are publications you are unlikely to find anywhere else, and an incredible variety of female writing, from the cult to the little known.

I wanted to continue sharing the models’ voices with artists, and as well to celebrate the incredible breadth and diversity of female models. The idea of models expressing themselves whilst posing interests me, and not just with their bodies. Speaking of the nuances of feeling generated in pose, the different connections with people drawing, and how the practice or job sends ripples into their wider lives. Through sharing their thoughts we will spark some discussion about any issues or responses raised.

This introduction into a professional model’s interior world may warm participants up for trying some modelling themselves I hope! Naturally we welcome women who just want to draw as well. If cost is an issue please get in touch as it needn’t be. Some drawing materials and boards will be provided but by all means bring your own.

I am really excited to be presenting some wonderfully gifted and unusual women in this series. It is a chance to hear new stories in ways they perhaps haven’t been told before. Each session, the model will pose for the first 45 minutes, creating a sequence of poses to help with her presentation. She may not speak all the time. Her voice might have been pre-recorded if she prefers. She will sit, stand and elaborate for you, using her platform to engage you with particular matters pertaining to her experience. She may deliver poetry or make music. There may be a little movement. She will decide!

Our first model for the series will be Leo.

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Leo will be modelling at The Stories of Women on 17th July

Leo says, “I consider being a fat model a public service 😉. I hope other fat people are inspired to love their own bodies more.
body positivity and diversity is the key.”

Couldn’t agree more. It is very exciting to have Leo with us. She has a lot of experience and is a powerful figure with a strong mind. Please join us! Further dates and presenting models will be announced soon.

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“The Feminist Library is a large archive collection of Women’s Liberation Movement literature, particularly second-wave materials dating from the late 1960s to the 1990s.”

Tickets available here.

Spirit of Women Changemakers

Spirited Bodies is really proud and honoured to be part of The Fawcett Society’s Spirit of Women Changemakers conferences in November, in London and Manchester. The Fawcett Society is the UK’s leading charity campaigning for gender equality and women’s rights. They want to see a society in which individuals can fulfil their potential regardless of their sex, and are bringing “individual community activists and organisers together with those who have driven change at the highest level to identify the most powerful ways to create change.”

I have been invited to create women’s workshops to complement the programme, by offering a practical session where delegates may try their hand at life drawing, perhaps even some life modelling. Spirited Bodies wants all women (and all people in fact) to feel comfortable in their bodies and fulfil the potential of their whole self. By working to eliminate body image and confidence issues, we want people to be free to embrace all of life, without being constrained by limiting beliefs often imposed by the media.

Similar to when we are at Women of the World Festival at Southbank Centre, these workshops will include demonstrations by prearranged models – some will be professional life models and others may be first-timers. To accompany their poses, recorded interviews of previous Spirited Bodies models will play, and in these voices may be heard the complex reasons that women come to try modelling with us, and what they gain from it.

Many find this a moving spectacle that reaches far into the interior of some models, going beyond familiar and traditional life drawing standards. The artist is halted in their sketching, arrested by unexpected revelations of peculiar intensity. They had a set out to draw a body – in itself, not simple – but are suddenly forced to confront a deeper reality. The model they are drawing is completely still… but had they considered that perhaps she is always so? She may not be a professional life model, though you might not realise it if you just walked in the room and found her in pose. At other times her paralysis is more evident as she is only without her wheelchair when reclining.

This is just one example of myriad stories behind the women who have posed at Spirited Bodies. The aim is to reach women who would otherwise not have the opportunity to model. They might be ill, very shy, anxious or somehow disabled, and this is a chance to experience their bodies as part of the creation of art, to be appreciated by drawing artists in a safe and guided environment where there is no pressure except their own desire to challenge themselves.

The atmosphere is totally supportive and respectful and every effort is made to accommodate different and unusual needs where appropriate and possible.

The London event is on Saturday 12th November and takes place at St Thomas’ Hospital.

The Manchester event is on Saturday 19th November and takes place at The Studio.

Our workshops will be from 2:30pm – 3:30pm.

If you identify as female and would like to take part in one of the events as a model, please email me at info.spiritedbodies@gmail.com stating your reasons – there are limited places. This is not paid modelling, but nor would you need to pay to come to the event. Similarly if you are a female life drawing artist in or near Manchester who would like to come and draw at that event, please get in touch. It is great to have some experienced drawers present! It looks like we may not have space to accommodate the same in London unfortunately, however if that changes I shall put the word out. In any case, you can always buy a ticket to the conference and join us that way, as well as seeing lots of inspiring talks. I will be bringing drawing boards and materials.

During the morning at each conference there will be talks and panel discussions that address the subject of improving women’s lives in a range of ways. After lunch there will be practical workshops for attendees to experience some grassroots approaches to enhancing women’s lives. Spirited Bodies naturally fits in here, on the matter of body image, part of our health and well being. There is lots more information here, including how to buy tickets.

Key speakers include Dame Jenni Murray, Journalist, broadcaster and presenter of BBC Radio 4’s Women’s Hour; Baroness Jane Campbell, Co-Chair of the All Party Parliamentary Disability Group; Stella Creasy, MP; Caroline Criado Perez, Journalist, broadcaster and campaigner; Gail HeathManchester Women’s Aid; and Becky Olaniyi, Sisters of Frida. I am humbled to be among their number, and very happy to return Spirited Bodies to a more political sphere.

ES 46

© Spirited Bodies 2016, photograph by www.lidialidia.com at Loving Bodies event, April ’16

NB I am not intending to photograph the event at Spirit of Women Changemakers conference.

A few paintings and drawings from one of our recent women’s events, in July at Lewisham Art House – called ‘Sound & Movement with Life Drawing’

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© Irene Lafferty
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© Irene Lafferty
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© Kathy Dutton
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© Kathy Dutton

 

 

 

All the Spirited Nudes, in Edinburgh

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).

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At the end of the evening, Steve and I clearing away. Taken by a model

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.

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Models in situ, all ready for their audience

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.

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All artworks & photos in this post are from the event on 23/08/’16 at Studio 24

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.

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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.

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Models as seeds about to grow

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.

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Steve joins in this scene of a Roman bacchanale

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.

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The first pose

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!)
15 minutes models create gangster poses, think Reservoir Dogs
15 minutes a scene of a Roman bacchanale
15 minutes break
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.

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Caught unexpectedly nude!
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Confident expressions
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Laidback
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Bewitched

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 🙂

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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!