Figment, or what is departing?



Figment, or what is departing?, 2012, 20.5" x 16", mixed media on 90lb archival paper.

For me, I see strange and unintentional resonance of the woman with one of the earliest cave paintings, the Shaman of Trois Frères (scroll down a bit). She is half elk, a shaman, and he is a primal man who may transform on the full moon, an adept of the great goddess. Does the strength of moonlight compose him? There's something Fellini-like about them. As if from a dream. Or a poetic metaphor. The animal soul and its poetry of desire.

Her dress is made of red ink.

[One figure is from the OCAD figure drawing sessions; the other is a rendition from the Keyhole session. Together they make another story.]

         



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The Room, where the Buddha waits




The Room, where the Buddha waits, 2012, 18" x 19.5", mixed media on 90lb archival paper.




This series, for me, has resonances with Tarkovsky's 'the Room' that is within in the dangerous region of approach, 'the Zone,' in his movie, The Stalker. The Room doesn't appear to be anything more than the strange approach to it. While there is a physical journey, it is circuitous and covers a surprisingly short distance, and so the dangerous region of approach seems more of a psychic quest in the deserted region of 'the Zone.' The stalker who is like a strange priest or monk or shaman or artist guides those brave enough to risk this journey to their own mysteries, their own inner truths. The 'Room' grants wishes, or this is its reputation, in strange and unexpected ways. The process perhaps represents what we see and perceive about who we are, and it changes us, that process of realizing more of who we are.

This is the way I am thinking about this series. An incipient spirituality, with self-reflection, manliness, a pride in the body, and a sense of sensitive and lithe thought processes.

The whole album, with original sketches, may be viewed here:
Figure Drawing at OCAD


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The Playing Field


The Playing Field, 2012, 20" x 17.5", mixed media on 90lb archival paper.


Pierre-Marie Cœdès commented at Facebook: 'It is funny you name it The Playing Field, since I see them hesitating and very much interrogative ...'

Ah, I answered, that's what the playing field is like, then, Pierre-Marie. I would like the title on this one to be interpreted however the viewer reads it and sees the painting. This series seems, for me, to have resonances with Tarkovsky's "Zone" in his movie, The Stalker. It isn't really anything, but it represents what you see and perceive about who you are, and it changes you, that process of realizing more of who we are. Now, yes, you are helping me to say what these paintings of the men mean in the way I think about them. I like the way you think about them and I especially like that you share your thoughts, for I always learn from your kindly perceptions, Pierre-Marie.



The whole album, with original sketches, may be viewed here:
Figure Drawing at OCAD

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The Men Who


The Men Who, 2012, 23" x 18", 58.5cm x 45.6cm, mixed media on 90lb archival paper.


If I can, I like to finish my life drawing sketches. These were one minute poses - which I tend to place all on the same page (being into doubles, doppelgängers, clones). I have to consider placement on page, how the gesture of that pose fits into the overall rhythm of the figures, and the particular anatomy of that pose in a nanosecond and hit the track running, like, Draw! :laughing:


The whole album, with original sketches, may be viewed here:
Figure Drawing at OCAD


brendaclews.com
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