'Atrophy and Arrival'

Fineliner pen on Somerset paper 29 x 49cm

WIP update

Little abstract detail of my new piece which is slowly taking form;

It is a significantly smaller piece than my previous endeavours (49.5 x 30cm), but no less intricate. 

'Our Coat of Arms'

Fineliner pen on Somerset paper 60 x 79cm

600 hours & 17 fineliner pens

I am almost in a position to unveil my latest piece. Very excited about presenting this one as it turned out to be my most meticulous creative undertaking to date. 

Teaser showing an abstract detail:

Horse head plaster cast study

I have just got back from my annual break in Valladolid, located in the heart of Castilla, Spain. Whilst there, I stumbled upon a separate part of the Museo Nacional de Escultura (National Sculpture Museum) that I was previously unaware of. Known as ‘Casa Del Sol’, this additional building is located less than a couple of hundred meters from the main museum. It houses a permanent collection of outstanding plaster cast copies of well-known classical sculptures, all on display in one epic grand hall: 

What a fantastic coincidence that I discovered this place when I did, as I had recently been itching to execute some meticulous drawings in an academic manor akin to what would be produced within an atelier curriculum (traditional ‘master and apprentice’ system of art instruction). In fact, I had been keeping an eye out for classical plaster copies to draw from for some time, but to no avail. Now I found myself completely overwhelmed by choice!

Having sought permission from the museum, I set about producing a precise study of a compelling horse head, cast in 1944 by Sánchez Aspe. I believe the original was sculpted in the 5th century BC in Lanuvio, Italy. There is a good chance that the original is currently in storage within the vaults of the Bristish Museum, but I have not been able to verify this.

Although I was immediately excited by the vivid presence of this sculpture, I was determined to remain focused and level-headed. My sole aim was to work in a purely objective and truthful way that was devoid of emotion. Essentially, I wanted to mitigate any subconscious embellishments creeping into the work. It helped to mentally reaffirm to myself at regular intervals that this was to be a 'cold' exercise in visual accuracy. Nothing more.

The finished drawing took about 16 hours in total, spread over the course of a week:

To be able to draw this beautiful cast directly under such a dramatic and constant light source was a rare and privileged experience. The museum staff were very accommodating and were kind enough to provide me with a small foldable stall throughout the time I was there:

Casa Del Sol will now be a guaranteed fixture on all my future excursions to Valladolid and I am looking forward to producing more cast studies over the coming years.

Ta Prohm, Angkor, Cambodia

To sit amongst the temple ruins of Angkor and draw has been a burning desire of mine for many years now. When I finally got the chance to visit last month I was smitten. The atmosphere and mood that this ancient place evoked was everything I hoped it would be. Within moments of arriving at the site I gravitated straight to this beautiful example of a giant strangler fig tree bursting through a temple opening and fusing together with the stonework to become an integral part of its structure. I estimate that the resulting drawing took about 5 hours to complete:

   

For the first part of the day I seldom glimpsed the doorway itself because of the sheer volume of people being herded into this small area by eager tour guides. So, I decided to focus my attention on the intricate root system which extends upwards and frantically sketched in elements of the doorway at every fleeting opportunity. Here is a ‘work in progress’ shot that I managed to snap during a brief moment when there were no other tourists posing in front of the iconic doorway:

 

In my experience of drawing on location, this was definitely the most mentally draining and it was not due to the complexity of the subject matter, no no! Instead it was the sea of camera lenses that were relentlessly pointed in my direction every time a large bus tour group came through. I am used to the curiosity of bystanders and typically relish the opportunity to speak to people that take an interest in what I am doing. This was different though - it was completely wild and never ending!

Despite feeling overwhelmed by the unsolicited attention at times, it actually turned out to be one of the most rewarding sketching experiences I have ever had and I hope to return someday to make some more studies.