MY ART CAREER PART 3 (b) – ST MARTINS – FINDING MY VOCABULARY ‘II’

One of the things which really got up the noses of most of the tutors at St Martins was conventional drawing. They hated it so much that during my second year they actually closed down the life drawing studio, meaning that St Martins was the only one of the six UK major art schools without one – even Chelsea and Royal College maintained life drawing classes.

But I was a drawer. I had been since I was five years old (when my primary school headmaster described me as “the complete draftsman and cartoonist”). And fortunately for me I was not alone. Of our year of thirty odd students around ten others felt as I did, and because in those days we all received generous grants we were able to raise the funds between us to pay a model and support a once-a-week life class – much to the irritation of our tutors.

As in my first year there were a couple of tutors who bucked the general trend and attempted at least to teach and encourage us poor representational fools. Anthony Whishaw was my personal tutor that year and was always polite and gentle, despite the fact he was obviously repressing his frustration with me the whole time he was in my space. Gary Wragg was also incredibly affable and hugely encouraging, even if a bit hard to comprehend. On occasion he would stand in front of the canvas I was currently working on, gesticulate wildly with his arms and say things like, ‘Now that’s what I mean man! That’s what I’m talking about! Man, this is where it’s at!’ and so on (I always had the feeling with Gary that he thought he was on the set of a Shaft movie)… Not exactly constructive, but well meant, and I think – sincere. I believed I was Gary’s token representational artist, and I took that as a huge compliment given the whole weird context of me being at St Martins.

Anyhow, the drawings displayed below are from that time. No nudes represented here, although they will appear in future posts (I promise!) but rather an example of my portrait sketching. During this period while I was still searching for a satisfactory method of painting, I began each morning with an hour or so of sketching. Mostly, my own face but often a friend or girlfriend would be happy to sit for me if I provided them with a cup of tea or coffee as payment. It was a useful exercise and loosened me up for the rest of the day.

Ever the expressionist, subtlety was never my thing, but despite a slight heaviness of hand I’m surprised now, some 35 years later how fresh and alive these drawings appear. I hope others will agree…

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