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!

Sound, Movement & Drawing

On Saturday 23rd July there will be Sound, Movement & Life Drawing in New Cross, South East London; for women, as well as mixed. Follow link for details.

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I get really nervous about (life) drawing and it’s because I am uncomfortable doing things I am not confident at. I overly criticise my marks and that harsh voice in my head surely inhibits my ease of flow when I put marker to paper. It’s there before I have even started! Worrying how the drawing will look relative to how the model actually looks, and how other (better) artists fare in their efforts. I am especially anxious if the group is busy and/or there is likely to be a tutor peering over my shoulder telling me how it ought to work. I will freeze, ashamed of my attempts and be unable to take in their advice. I feel even more out of sorts considering I am so often on the other side, pulling the most contorted angles I can muster – yet can I cope with a talented model giving that right back to me?

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All drawings in this post by Kathy from several recent events

I exaggerate. I have been leading modelling and drawing workshops for long enough for my own advice to have penetrated my nervous system. Sometimes I relax and am unbothered by the outcome. It very much is about state of mind. Sometimes I even like what I produce.

I felt extra awful on occasion trying to draw my partner (who is a professional life model). I think I felt like I of all people ought to know his body and be able to capture it well, I mean I’ve looked at it long enough! But it doesn’t translate so easily, and most of all it takes practice, and worrying less!

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Kathy Dutton is going to lead the drawing side of things at our next workshops on 23rd July. Her style is very accessible to newcomers who don’t want to be bombarded with technical wizardry, but more gently guided towards expressing their reaction and interpretation of the unfolding tableaux. Having the confidence to draw is liberating, and confidence-enhancing, just as being able to pose nude can be.

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The modelling side of things has an emphasis on movement this time, as in very slow movement that allows us to respond more fluidly to Sarah Kent‘s soundwaves. Lewisham Arthouse is on a busy road and I have posed there many times. The sound of the traffic can be heavy, however with powerful gongs vibrating, and other more delicate sounds from Sarah’s collection, we will be transported elsewhere!

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Sarah sounding a singing bowl at Loving Bodies, St John’s Church

This is a 3 way collaboration where we each bring our unique talents. I am a life model who specialises in (slow) movement poses and many of my bookings are focused that way. I think it’s a facility I have always had, developed on dancefloors in my teens, and in drama studios later on. I will be guiding, within participants’ capabilities and inclinations, very much working with individuals’ intentions.

Models may take a turn at drawing, and artists may swap too, which is the best way to understand each others’ roles. There may even be a chance to try making some sounds, whether voice or borrowing Sarah’s instruments.

Poses are likely to last around 20 minutes and involve some slow movement, as well as stillness. Drawings may be collaborative, on large pieces of paper on the floor or wall as is Kathy’s way, and models will move together also, relating to one another more closely as the session evolves. Sometimes they may respond more to the sounds than each other.

The photographic images are from the Loving Bodies event we co-created in April. They were taken by Lidia (www.lidialidia.com)

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Sarah playing her flute

For more details of the workshops taking place on Saturday July 23rd, see here!

Calling Women of All Ages, for WOW @Southbank Centre

We are very happily returning to the Women of the World Festival for our 4th year there, on Saturday 12th March at 3:45pm. This year we are bringing exciting new elements to the event, by including parts of my performance project, Girl in Suitcase.

A theatrical ensemble of professional models will lead a chorus of women, young and old, through the inspirational Ages of Woman. You are invited to try life modelling as part of the chorus, or turn your artistic hand to drawing scenes of the Virgin, Mother, Enchantress and Matriarch. Throughout the session, chorus models within this supportive environment will be invited to share insights from their life modelling, motherhood and menopause experiences. No previous drawing or modelling experience necessary. This is a women-only session where models will work in a group with poses lasting up to 15 minutes. Art materials, robes, a changing area, and a warm comfortable space to pose in are provided.

You will need a WOW Pass to attend the session, though I do have limited free places available for women artists (email me at info.spiritedbodies@gmail.com). Donating a sketch to a model is highly appreciated, in return for their posing.

If you would like to be part of the chorus from the beginning (not as an audience member/artist joining in later) do get in touch. If selected you will not need a pass, and we may be able to cover some transport and assistance costs. I am particularly interested in hearing from older women. The venue is accessible and carers are welcome to join you – we especially welcome disabled women who may otherwise not have such an opportunity. Do spread the word if you think someone may appreciate being included. We are lucky to already have one confirmed chorus member who is 65, and completely paralysed. She has modelled with us several times and become something of a star at Spirited Bodies due to her incredibly powerful testimony given in recorded interviews. Another star who we hope to have joining us again is a model who is in her 80s and has had a mastectomy. Read transcripts of live interviews we made with models at our first WOW event in 2013, here – Part 1, and here – Part 2.

We will be in the Blue Room, which is on the Spirit Level of the Royal Festival Hall building, and the session lasts approximately 1 hour and a half.

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Women posing together at Tanner Street, December 2015

There will be a warm up Women’s Life Modelling session a week before as part of The Telegraph Hill Festival, on Saturday 5th March, from 2:30pm – 4:30pm, in the Craft Room at Telegraph Hill Centre. This will be much smaller, and a straight forward life modelling and drawing workshop. You may book online or just turn up; there is a small charge but if money is tight, don’t let that stop you – get in touch, we may be able to work something out.

If you are concerned about menstruating whilst posing, well this is natural especially if you are new to life modelling. You are welcome to wear knickers, a tampon or mooncup, or even to bleed free. My previous blog post covers this subject somewhat; we all experience this differently.

Women posing at Bargehouse in November 2015;

There will also be a mixed life modelling workshop as part of The Telegraph Hill Festival, on Thursday 10th March, 7:30pm – 9:30pm, also in the Craft Room. This is hosted by Frances Felgate as it is part of her regular life drawing group session. This is free to attend as it is a taster session for the festival.

 

 

Life modelling workshop at Islington Arts Factory

I had an opportunity to cover for an existing life drawing group, as coordinator, and jumped at the chance. This was the RAM (Register of Artists’ Models) audition session on Wednesday 13th January, at Islington Arts Factory. I knew this could be a chance to bring in a bit of Spirited Bodies, as new life models were auditioning, and I used to facilitate this at my own workshops in the past. Where I used to have about 8 models present however (not all auditioning for RAM mind, perhaps just one or two), this was going to be a smaller session. This was on account of the size of the space, and because it was my first time there, I wanted to see how the regular artists responded.

Rachel Welch who usually runs the session, arranged for two audition models to be present, and I invited someone who had recently contacted me about trying modelling. All three models were to pose for the first time, and we had two men and one woman. I decided to follow Rachel’s suggested pose time schedule, as it is fairly standard and would maintain continuity for the long standing artist group. I came up with some themes for the poses, and other than that did not have to prepare very much, as everything I needed was at the venue. The space turned out to be bigger than I had imagined, well heated (for a very cold January evening), and with plenty of cushions as well as art materials. There were ten artists – a friendly group who helped me by letting me know where things were and what they are used to. I recognised a few of them from when I have been modelling elsewhere, and at least one had been to Spirited Bodies.

For the first 3 five minute poses, I asked the models to take turns at each creating an expansive, a compact and a connecting pose. The idea was that the model who was connecting, was energetically bringing cohesion to the three, joining the otherwise opposite stances. The models shared a platform, with a small mattress on one side, and some cushions available. I instructed them to pose in different parts of the space and face in alternate directions, whilst maintaining an outside eye myself to check each overall tableau from all sides, as they were in the round.

There followed two ten minute poses; the first I suggested to represent some sort of dance, as these shorter poses are more ideal for standing and being a bit dynamic. The second saw them as if casting a spell together, focused on a scarf which they each held snaking between them. I encouraged them to experiment with levels – whether standing, sitting, crouching or reclining, and to find expressive shapes with their bodies. This sometimes inevitably found them pushing themselves perhaps unexpectedly, a little over-ambitiously. I tried to talk them through their agony, which was evident from the outside – shaking was visible. I have been there all too often, still find myself in such predicaments after many years experience. Each day and every pose is new, and particularly a new space or group, can catch us off-guard. I may feel more energetic than my body is in fact capable of. I know it doesn’t matter though, that rediscovering comfort is important, so I remind the novices of this. “There is a fine line between challenging yourself and torturing yourself; try not to cross that line too much!” I warn.

 

The next 15 minutes becomes an awkward silence – I ask them to pose as if there is an elephant in the room. This is about energetic and atmospheric connection. A pose may be simple, yet convey a great deal of drama.

 

For the final 15 minutes before the break, I ask the models to regard the artists with suspicion; it’s all about the tension, the sternness. They are excelling themselves, and I can really see how one model especially is getting into his flow. It looks potentially painful the way he is leaning on an elbow, with the rest of his body contorted in interesting diagonals, so I advise him to focus on a single point ahead of him. Before this, he had a tendency to move his head around a bit more than is ideal. Focussing the eyes will hopefully aid finding a meditative zone, or moving beyond the pain barrier. It is a mental exercise and not for all, but worth trying, especially if you do want to be a life model.

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To another model, again I try to encourage when I witness pain on his face. “With a pose as interesting as that, you don’t know which bit of you is going to feel the agony first, you just can’t predict it. But the angles are brilliant. Feel free to drop your extended arm if it is too painful.”

And warning against another danger, “Some numbness is better than others! Some is outright painful, while others you don’t notice until you stand or try to, afterwards, and then collapse without enough blood to support you!”

I keep my comments to a minimum, being mindful of the artists’ concentration, whilst trying to sense what will be helpful for models, and artists to hear. I decide not to give a theme for the longer poses after the break, as I think it’s important that the models find their own pose for their bodies, without trying to focus on too much else. For 20 minutes, one is standing, which I remind them can be easier than other postures which make it harder to stretch for body parts being stacked upon and across each other. Another is lying belly down, and one sitting, with considerable poise I would add.

“In longer poses we sometimes find a way to secretly move, without the artists noticing. Subtley shifting where our weight is, so that we can have a little break internally, and the artists may carry on drawing,” I mention during a sustained pose. Finally, there is half an hour left for a last pose. Two models want to stand, and at first the other does too, as he pushed it in a seated pose just before. He then settles, sitting on the corner of the dais upright, alert. I give him a cushion for his bum, having described to them just earlier the varied etiquette around sheets and bodily fluids. It’s a matter of personal choice, often left to the model. As ever in the moment, we models often go with the flow. If we weren’t so relaxed, we probably wouldn’t be doing this.

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I feel less pressure than when I ran workshops regularly a few years ago, as there’s enough artists here, and they are not expecting to model. It’s the right balance with the necessary reverence towards those posing. Also, I have discovered that with just three student models, I feel I am giving enough attention to each. At the end we give a round of applause to our models, and I ask that we may look at the artwork, which is the first time that these models have seen such. It turns out that at least one of the artists is very shy about showing this, and I think it reminds the models that everyone is nervous about different things.

I really enjoyed this evening; it was a genuine pleasure to welcome new models into the life drawing arena. I had taken the unusual step of inviting a new male model, who wasn’t a RAM auditioner. He had contacted me and been informed that I had lost faith in accepting new men to Spirited Bodies. Well I had, for a while. But something told me that with such a small group, and not having to be concerned with finding the artists (which may consume attention), I would be safe (we all would). Plus an instinct about his messages put me at ease. What a relief and even a breakthrough! I had taken care, been watchful, and I will continue with that, in I hope the appropriate measure for each new instance. (Re)building a supportive foundation for Spirited Bodies – women, men, or humans beyond gender.

Sarah Kent writes about our collaboration, (& photos from Spirited Sound)

A few words from sound artist Sarah Kent, about us working together at Bargehouse over 3 weeks ago. We will be working together again in under 2 weeks, at Tanner Street, Sunday 13th December. Again there will be a women’s, and a mixed session. More details here.

What a unique experience this was, and what deep treasures there were in sharing this. I’d had no idea what to expect, just I’d met Esther by chance at a local artists’ Open House and felt a strong resonance with her, and a sense in some (as yet unknown) way we were just who each other needed to meet, and an instant synergy pinged into existence. I was excited, intrigued, and hopeful we’d meet again (as we did soon after when Esther came to a Soundbath I ran.) So when Esther invited me to collaborate with her for Spirited Bodies at the Bargehouse, it was a wholehearted yes and Spirited Sound emerged effortlessly.
It felt a bit like jumping off a mountain beforehand into a completely new experience, however I completely trusted Esther’s vibe and knew we had the potential synergy for co-creation, though had little idea what form it would take. But what I felt in my bones was deep trust in our ability to hold a generative, emergent space together.
And so it came to be! I loved the collaboration. I loved the shared experience, all of us on the day in community co-creating in the moment, with each of our roles honoured and esteemed in our mutual unfolding of our next exploration and creation. The synergy felt nourishing and vitalising, a generative mutuality as we collectively emerged our next creation, and we all jumped off the mountain, again and again. I feel thoroughly initiated – into what I look forward to finding out…

Plus some beautiful photographs of the models and some artists, by Tatiana Moressoni

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