Each of these five drawings are from five different 30 minute poses. The common aspect is that I have used at least two different scales. I am also following my anagrammatic approach of deconstructing the pose before me by reconstructing within the new composition the parts which for one reason or another are attracting my attention.
The next drawing is also an example of my 'morphism' preoccupation in which I have moved together the two sides of the pose, fusing them into a new whole. The two sides are also drawn at different scales.
Sometimes the use of two or more scales allows me to include the whole of the pose (which occasionally I feel I must include because it is so attractive) but also to focus in and explore in detail parts of the body. Here you will see that the raised arm and hand, at the larger scale, has been placed in the lower part of the drawing, whereas the lower dangling foot, at the larger scale, has been elevated to the top of the drawing. The right foot is seen turned on its side and resting on the plinth.
The sequence of making the drawing was as follows: I wanted so much to include the full pose. But having done this I asked myself 'How can I make the 30 minutes, and the drawing, more interesting?' So I homed in on an aspect which is perhaps becoming a signature component of my art, close-ups of hands and feet.
With the above example, and the final drawing, I am beginning to consider whether my process is entering a 'surrealist' phase. If this is so then perhaps I am following, in microcosm, the path which developed in European art in former times. I was reading recently, with respect to my engagement with Cubism, the American poet Kenneth Rexroth who said that Cubism in poetry "is the conscious deliberate dissociation and recombination of elements into a new artistic entity made self-sufficient by its rigorous architecture". He maintains the Cubist poets influenced both Cubism and the later movements of Dada and Surrealism (I must find out what Dada is all about).
Personal footnote: the quote from Kenneth Rexroth is synonymous with the wording used by Hans Bellmer in his definition of his anagram approach to which I make reference at the start of this posting.