It’s time to break free of the stati
rigid tyranny of the pose and create —
a more interactive, dynamic pre }
co-creation. In other words, it’s |
riding on the back of muse and

Intimacy

| am blessed with numerous friends, colleagues, and family who are excited to
model for me. This creative relationship is based on mutuality and appreciation —
there is a cyclical movement of inspiration between the two of us. When my eyes
are on my paper, my model's eyes are on me and he or she is resting, taking a
break from the pose. Each time my eyes return to look at this wonderful human
being in front of me, my muse is back in the pose. It works in much the same
way as when | am drawing myself, in that he or she is in a constant state of
movement, in and out of the pose. Together we negotiate the pose, how long
the session will be, what music will inspire, nudity versus clothed. When my
model is inspired, so am |. | cannot do the drawing without his or her vital input.

Tyranny of the Pose

In a classroom or private drawing group setting, the intimate relationship between
model and artist is problematic. Who am | really posing for? Although the
human form is common to us all, it is questionable as to why | should take my
clothes off for a bunch of virtual strangers. 9 =

What a bizarre scenario. Here's what | would like to do: choose one person in the
group with whom | feel some affinity, and have the same kind of one-on-one
relationship with that artist as | have described above. Together we could choose
a pose that suits us both and when he or she would not be looking at me, | could
then move. This arrangement would benefit all concerned. For the model, there

Kill Your Boss, 31.5 x 47.25", 1999

would be a more intimate contact and stronger reason for being there in the first
place; he or she would also be able to re-energize the pose by moving in and out
of it throughout the session. For the one artist with whom the model is in direct
contact, he or she would experience perhaps a more vital feeling to the whole
creative process. Many times | have heard how artists, whether they are students
or not, forget that the model is nude, is a human being; ultimately we end up
becoming nothing more than a still life - no wonder the French called it "dead
nature". How exciting is that? :

Furthermore, many teachers still regard the model as subordinate: basically that
we should shut up and do as we are told. What | am talking about here is
domestication of the muse. Instead of being regarded as a co-creator in a process
that is ultimately untame, we are treated as nothing more than a serf under the
guise of "employee".

If | Had It My Way

Ideals always lead to action. This is why | have written this article. Having been
on both sides of the fence, | feel that it is.of utmost importance that we begin to
seriously question the role of model to artist. The ideas | have suggested here are
only the starting point. It's time to break free of the static, rigid tyranny of the
pose and create a more interactive, dynamic process of co-creation. In other
words, it's time to stop riding on the back of muse and walk side-by-side instead.

In a classroom or private drawing group

~ 31.5 x 47.25", 1999

_ She Said She Swam with Lightning,

setting, the intimate relationship between
model and artist is problematic. Who am |
really posing for? |

rigid tyranny of the pose and create

a more interactive, dynamic process of
co-creation. In other words, it’s time to

riding on the back of muse and walk

Intimacy

1am blessed with numerous friends, colleagues, and family who are excited to
model for me. This creative relationship is based on mutuality and appreciation ~
there is a cyclical movement of inspiration between the two of us. When my eyes
are on my paper, my model's eyes are on me and he or she is resting, taking a
break from the pose. Each time my eyes return to look at this wonderful human
being in front of me, my muse is back in the pose. It works in much the same
way as when | am drawing myself, in that he or she is in a constant state of
movement, in and out of the pose. Together we negotiate the pose, how long.
the session will be, what music will inspire, nudity versus clothed. When my
model is inspired, so am |. | cannot do the drawing without his or her vital input:

Tyranny of the Pose

In a classroom or private drawing group setting, the intimate relationship between
model and artist is problematic. Who am I really posing for? Although the
human form is common to us all, it is questionable as to why | should take my.
clothes off for a bunch of virtual strangers. *

‘What a bizarre scenario. Here's what I would like to do: choose one person in the
‘group with whom | feel some affinity, and have the same kind of one-on-one
telationship with that artist as | have described above. Together we could choose
‘a pose that suits us both and when he or she would not be looking at me, | could
then move. This arrangement would benefit all concerned. For the model, there

Kill Your Boss, 31.5 x 47.25", 1999

would be a more intimate contact and stronger reason for being there in the first
place; he or she would also be able to re-energize the pose by moving in and out
of it throughout the session. For the one artist with whom the model is in direct
‘contact, he or she would experience perhaps a more vital feeling to the whole
creative process. Many times | have heard how artists, whether they are students
or not, forget that the model is nude, is a human being; ultimately we end up
becoming nothing more than a still life ~ no wonder the French called it "dead
nature”. How exciting is that?

Furthermore, many teachers stil regard the model as subordinate: basically that
we should shut up and do as we are told. What | am talking about here is
domestication of the muse. Instead of being regarded as a co-creator in a process
that is ultimately untame, we are treated as nothing more than a serf under the
guise of “employee”.

If Had It My Way

Ideals always lead to action. This is why | have written this article. Having been
‘on both sides of the fence, | feel that itis of utmost importance that we begin to
seriously question the role of model to artist. The ideas | have suggested here are
only the starting point. It's time to break free of the static, rigid tyranny of the
pose and create a more interactive, dynamic process of co-creation. In other
Words, it's time to stop riding on the back of muse and walk side-by-side instead.

In a classroom or private drawing group

31.5 x 47.25", 1999

She Said She Swam with Lightning,

setting, the intimate relationship between
model and artist is problematic. Who am |
really posing for?

21 @)