The Process Of Drawing Is Left Visible.

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The Process Of Drawing Is Left Visible.

On Drawing, John Berger.

Raveningham.

Garden/Ground/Circulation Diagrams.

Notes appropriated from 

The Scripted Drawing.

Social conditioning underpinning education.

Cultivation Field.

Spatial Registers/Spatialities/Ideologies between consciousness and social existence.

Collaged Activities/Inquiry

Boundaries/in the making between the personal and the commonly shared.

A space where the individuals mental reality meets cultural narratives.

Frames of Consciousness.

Stencils/Templates/Windows/Intermediaries.

Double Occupancy/Discourses and Events.

The Confessional Metaphor.

Jean-Jacques Rousseau.

Corpus.

The Individual/Birth to Presence.

Jean-Luc Nancy.

Circulation Diagram.

Architectural Programming.

The Shower Room.

The Changing Room.

The Life Drawing Room.

The Darkroom.

Mobile Architecture/Event Architecture.

Further Figuring It Out.

Maussion's very choice of the nude recalls the most classic of strategies within the tradition of easel painting, but as we have seen it is one mediated by the mechanical effects of photography and the distance of memory.

William Jeffrett, 1995.

Charles Maussion. SCVA/UEA Norwich.

Life Drawing/The Contested Sociological Subject/Corporeal Gaze.

Drawing as an extended method of seeing and of recording experience.

Drawing From Life as Ideas and Process.

We have schooled ourselves to see, by acquiring the capacity to depict ourselves.

The human body, drawings/depictions seen through concentrations of our personal/private selves.

Alberto Giacometti. 1901-1966.

Standing Nude, 1955.

Sainsbury Centre, UEA Norwich.

The body as the instrument of our emotions and our sensuality. 

In all its starkness this figure is a most sensitive and complicated mechanism. The naked human is seen as a symbol of existence achieved through observation of painful acuteness.

Herbert Boeckl. 1894-1966.

All Boeckl's life-drawings are distinguished by a strong physical presence. He is truly concerned with interpreting life in terms of human bodies, of the beauty of functioning muscle and bone and with the tactile aspects of flesh, as well as the knowledge of what lies beneath it. His nudes speak a physical language. He uses charcoal as a technical means to best achieve lucidity.

Boeckl is not concerned with 'beauty of line' as his predecessors Klimt and Schiele were, he always sees the body in the context of space and draws 'from within'. He builds up his figures from a structural core, the surface of his forms take on a strongly moulded, modelled aspect through a great economy of means.

Naked to Nude, Life Drawing in the Twentieth Century.

Georg Eisler. 1977. 

Rendering sensuality in everyday occurrences.

Drawings as concepts, forms of thought/seeing.

Ambient light and shadows over architectural surfaces.

Blurring the conventional distinction between the figure and the ground.

Life Drawing and the psychology of nakedness.

The practical and theoretical problems of confronting/drawing the human form.

Drawings from life contain a sense of physical presence, of a functioning logic.

A Sensation of Looking/Manifesting Seeing

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A Sensation of Looking/Manifesting Seeing

Matters of Concern/Fact.

Drawing/Contingency/Sensing/Seeing

Drawing away from descriptive depictions that illustrate preconceptions/aesthetics.

Julian Stair.

Quietus. 2012.

The Vessel.

Death and The Human Body.

There is an alchemy to making ceramics. We take an inert material, fashion it, dry it and expose it to heat and flame. The practice of cremation, of exposing the body to fire, going through an alchemical change, echoes and parallels the process of firing.

Julian Stair.

The materials he works, lead and clay are dense, both physically and emotionally. But Stair's use of these materials is not representational. These objects do not depict or illustrate, instead they enact and embody.

Stair's achievement in this cyclical exhibition is to have expressed both the universality and the specificity of death, each as an aspect of the other.

The great hand-thrown jars that stand at the heart of the exhibition exemplify this doubleness. Though completely abstract, they exist at the scale of the body. They invite a tactile response, visitors might stroke the ridges circumscribing the jars or tap them, or even give them a gentle hug.

Glenn Adamson.

Life drawing on the psychology of  nakedness and the human body in contemporary art.

Life-Class/Anatomy/Pathology.

The practical and theoretical problems of the confrontation with the human form.

Georg Eisler.

Herbert Boeckl.

His nudes speak a physical language, interpreting life and death in terms of human bodies, of functioning muscle and bone and the tactile aspects of flesh, and the knowledge of what lies beneath/behind it. 

Alfred Hrdlicka. 

A Group. 1973.

Proximity does not read as intimacy, the entangled naked bodies convey a sense of insecurity.

The Posed/Nakedness/Social Scrutiny.

The Life-Class.

Isabel Bradshaw/Michael Grimshaw

Drawings/Sculpted lines that bring sensations onto the surface of the paper.

Lines of Movement/Vectors

Lines of Static Forms/Boundaries

Mark-making, rendering the spatialities of the human form.

Form-Movement

Mass-Volume

Skin-Surface

Line is only the visual interpretation of an extremity of a volume. Mark-making on a drawing becomes a conduit for a sensation of seeing others.

The concept of anthropomorphism is central to the identity of pottery. We use bodily terms such as a neck, shoulder, hip and foot to describe the constituent parts of a pot. And the very nature of the vessel as a container, a holder of things, is analogous to the idea of the body as physical container for the soul or spirit.

Julian Stair.