The life model occupies somewhat of a passive role in the drawing class as a muse or an anatomical subject. The location for creativity is relatively fixed within the space of the easel where pencil or paint brush touch paper. In this work I experimented with this pedagogy to allow for a variety of spaces in the class to be sites for creative exchange. These included the body of the model and the class as a whole who's circular windmill-like structure allowed for an array of vignettes to take place.
I'd like to thank the students of The National Art School, Sydney (Lecturer: N. Thurgate); The Victoria College of the Arts, Melbourne (Lecturer: K. Donaldson) and The University of Newcastle, School of Creative Arts (Lecturer: S. Lowry)
Video: J. Carden Photo: G. Gawronski and A. Robalino
The life model occupies somewhat of a passive role in the drawing class as a muse or an anatomical subject. The location for creativity is relatively fixed within the space of the easel where pencil or paint brush touch paper. In this work I experimented with this pedagogy to allow for a variety of spaces in the class to be sites for creative exchange. These included the body of the model and the class as a whole who's circular windmill-like structure allowed for an array of vignettes to take place.
I'd like to thank the students of The National Art School, Sydney (Lecturer: N. Thurgate); The Victoria College of the Arts, Melbourne (Lecturer: K. Donaldson) and The University of Newcastle, School of Creative Arts (Lecturer: S. Lowry)
Video: J. Carden Photo: G. Gawronski and A. Robalino