2S Attended 15-17/08/22. Newlyn Art School.

Approach was lots of quick poses, focusing on shapes and the attitude of the body; providing material for later paintings. two models in the room. I chose to do this course to allow for a more sustained period in the life room to strengthen my skills. below is a record of the work. The refocusing on fundamental shape was useful as I do get caught in detail and in this case, on the last day, I noticed that I kept wanting to focus on the use of the materials in a more considered way and on the presence of the two models rather than on generating a lot of quick sketches. It made me aware of how dependent on photos I am. What I learned in the main was how it is that I go about making work. I was much happier with the work produced on day 2 where the pose was extended and then the two pieces of work that were done swiftly after that closer consideration. I found day 3 harder, I was tired and I felt increasingly fragmented and a bit lost with the quick succession of poses where I had no preconceived idea in mind to put those towards a purpose. I realised therefore that I am concept-driven and need a framework to make sense of the sensory input. I’m wondering if I should hire a model myself once I have a framework where this might be of use for a larger purpose. Reassessing why I do life drawing is now in process.

There was a LOT of work produced over the three days. I’ve commented on a few pieces recorded below. As I documented the work, I was looking for a) things learned, b) things that I might take forward in some way.

a)importance of wiping out; the need for preparatory sketches; use of work in the life room for other work; don’t take too many materials into the life room! How easy it is to lose the thread!

b)use of pastels for more abstracted application of colour; importance of narrative to give meaning; need to devise a framework if I’m to take the life drawing forward to a painting.

By tanyakrzywinskablog

After working in the computer industry and spending some years conducting research into cinema and digital media, I became convinced that the innovative qualities of videogames as participatory media required closer academic attention. As such I have spent most of my career championing the inclusion of games within the academy, and arguing for games as an art form, a role I continue as a Professor at Falmouth University. Alongside this, and my scholarly work on the Gothic, I also maintain, in various forms, a visual art practice. This blog comes out of enrolling on the MA Fine Art degree programme at Central Sr Martins. It is mainly a record of my reflections on the work that I have undertaken for the degree. After having written about folk horror in games and cinema as an academic, this blog will focus on folk horror as a focus for my art practice.

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