Thursday, 4 July 2013

Recreating Form: The Role of Conception in Drawing.

Michael Whynot. Male figure seen from behind, 2013. Red chalk.



What is art but life upon the larger scale, the higher. When, graduating up in a spiral line of still expanding and ascending gyres, it pushes toward the intense significance of all things, hungry for the infinite.              (Elizabeth Barrett Browning)




I am posting a study done last evening. The gesture is very subtle; weight resting on one leg, a nearly imperceptible twist of the spine. The angle of the wrist seemed curious to me, questioning something. We bring much of ourselves to the work we create. In truth, it is our conception of what we see that sets our best work apart from work where we simply copy what we see.

My goal is to not copy nature, but to recreate nature as I see it; the grace and splendor possible in the human form. This is the where a personal style emerges.

Who could argue that Michelangelo did not recreated everything he drew, painted or sculpted. His forms are idealized, conceived to fulfill a purpose; his purpose. Why is it that his work is so revered? Were his proportions more accurate, his modeling of form more realistic?

No. It was that his conception was more vivid, his imagination more divine. He saw form in a manner which others could not and he had the skill to render that conception in chalk, paint and stone, so that others could see what he saw: wonders.

So I will continue along the path of recreating form, nurturing imagination and conception, searching for the ideal.