Prior to the Covid19 situation, I was very privileged to start collaborating with choreographer Jack Lister and artistic director Amy Hollingsworth in doing some sketches from life from rehearsal/ development sessions. These I worked on away in the studio to make compositions with a bit more presence than the very rapid sketches from life, showing some of each in the album below.
The idea is for them to be presented in the foyer when Jack’s work “Still Life” is presented.
Read the interview: https://australasiandancecollective.com/scott-breton/
I use a combination of 3D software and physical plaster and 3D printed models to figure out how shadows would project and to develop the concepts. This is very much the spirit of the Italian High Renaissance masters, in which working from imagination was then informed by wax or plaster models, or the human model, a synthesis forming that is not strictly observational and certainly not photorealistic. The aim is more to abstract/stylise, and emphasise and create hierarchy in the qualities that the eye responds to, including: light, character, space, anatomical plausibility.
Graphite and white coloured pencil on hand-toned paper 42 x 59 cm
This wax model by Tintoretto reveals how he used models to arrange compositions and visualise light and shadow, presumably without employing a group of human models as Caravaggio did. I like the idea of the flexibility of this process from the point of view of the artist, allowing a lot of plasticity and imagination.
These drawings show the sketches from life and the more substantial drawing that came from them. At the end more sketches that I liked for their poses and movement but have not worked on yet.
If you like what I am doing here, you might like to access my Form, Gesture, Anatomy Course which goes through each of the topics that I think contribute to what I am doing here, and gives exercises to focus in on each of them.