Pride at The Keyhole Sessions

The Keystone Sessions in Toronto offers an erotic theatre for artists. The models and poses for the life drawing sessions are presented as a theatre, and are the result of a carefully planned and staged 'still pose' performances. It is held monthly in a bar. The music is amazing. The models are gorgeous. The bonds are beautifully knotted. Everything is composed, from the outfits to the poses to the lighting itself. While the sexuality expressed is not mine, I certainly appreciate drawing such interesting and beautiful women holding graceful and erotic moments in stillness.

From the Madame: "The Keyhole Sessions: the raciest arts community you'll ever experience."

The Keyhole Sessions are life-drawing with edge. With a hunger for the erotic, our community of artists gather for a few hours of debaucherous drawing on the second Tuesday of every month.

Hosted by The Madame, TKS is not for the faint of heart: our models come with attitude. Trussed up in rope and restraints, they’re here to have as much fun as the artists.

Most sessions will see our models exquisitely wrapped in shibari-inspired rope bondage. Keyhole Sessions Head Rigger, JP Robichaud, displays his talents by binding our models in sensual rope to add that extra flair to your drawings. For those unfamiliar with this art, look it up and then come to our class to witness this beautiful craft up close.

Divided into 3 Acts, you’ll see multiple models in varying degrees of undress and restraints, all to a soundtrack of some pretty sweet beats.

There are chairs for 60, and the women-only models obviously appeal to men, who are the majority, and I am happy to report that there was a good sprinkling of women artists too. :)

Currently the Keyhole Sessions is doing the 7 Deadly Sins, and May 8th's was Pride.

Because the streetcar was early, and I missed it, I got there a little later than planned. My seat was not very good and I only had a slit through which to view the models. Some of their limbs are made up, or I twisted this way and that to try to see the pose in its totality. They start out with one model and 3 minute poses - a lovely lady who is 6 months pregnant, then move onto two models with longer poses, and finish the evening with a 45 minute three model configuration. Always I am compelled to work on my drawings at home, strengthening the lines and usually adding colour.

Bloom at The Keyhole, 2012, 6" x 15", charcoal, India and acrylic inks on 90lb archival paper.

Harvest Moon, 2012, 17" x 14", mixed media on 90lb archival paper. I drew two poses of the same model on the same page, and she is holding a mirror in which she is reflected. Gazing upon the self. Selves who witness each other. The multiplicity of the self. I've called it Harvest Moon to celebrate the model's pregnancy of 6 months.

Women Through the Keyhole, 2012, 20" x 13", charcoal on 90lb archival paper, a digital effect applied.

Women Through the Keyhole - with Orchids, 2012, 24" x 18", charcoal on 90lb archival paper. I snapped this on my dining room table, not great lighting, but the orchids are sweet.

The Bonds are Unseen, 2012, 14" x 18", charcoal, colour pencils, ink on 90lb archival paper.

A slideshow of all of my Keyhole Sessions drawings so far.

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

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

Figure Drawing at OCAD

After a poetry meetup group friday night, with an open mic, and a post-poetry pub visit, I dragged myself off to OCAD (Ontario College of Art and Design) the next morning for a drop-in figure drawing session. I carried a large board with a canvas sheet taped to it, my large drawing pad, 2 sets of paints, watercolour and acrylic, brushes, water jars, palette, etc. since I had been unable to determine in Internet searches if OCAD offered a long pose or not.

Unfortunately, it was a typical life drawing session, beginning with half a dozen 1 minute poses, then onto 3 - 5 minute ones, a few 10 minute, and ending with two 20 minute poses. A format I do not enjoy, and I would not have gone if I had known. So many poses of such short duration do not work for me, and I now look for sessions with longer poses.

Because I had a few things to do downtown (like visit my favourite art store, Above Ground Art Supplies), I ended up walking home, trudging 4km loaded like an elephant. All in all, very exhausting.

Still, in the posts to follow, you will see that I am working very hard to turn these pages into viable paintings.

These were all done in charcoal on 18" x 24" 90lb archival paper.

(ps. The paper is bright white - I took the photos late and it was cloudy, not enough light for my iPhone camera.)

Sloth at the Keyhole

From the Madame: "The Keyhole Sessions: the raciest arts community you'll ever experience."

The Keyhole Sessions are life-drawing with edge. With a hunger for the erotic, our community of artists gather for a few hours of debaucherous drawing on the second Tuesday of every month.

Hosted by The Madame, TKS is not for the faint of heart: our models come with attitude. Trussed up in rope and restraints, they’re here to have as much fun as the artists.

Most sessions will see our models exquisitely wrapped in shibari-inspired rope bondage. Keyhole Sessions Head Rigger, JP Robichaud, displays his talents by binding our models in sensual rope to add that extra flair to your drawings. For those unfamiliar with this art, look it up and then come to our class to witness this beautiful craft up close.

Divided into 3 Acts, you’ll see multiple models in varying degrees of undress and restraints, all to a soundtrack of some pretty sweet beats.

There are chairs for 60, and the women-only models obviously appeal to men, who are the majority, and, though I was quite scared to go, I am happy to report that there was a good sprinkling of women artists too. :)

These drawings and paintings were done at the Keyhole last night. It may be a raunchy life-drawing venue, but those beautiful women and erotic poses are a lot of work to draw! As art, I'm thinking of Toulous-Lautrec. The lifestyle alluded to in the props and poses is a bit out of my range - I've never had a Mowhawk or ever tried a hookah or been tied up, and aren't thinking to either. :))) I am drawn to the exploration of the body through unique poses and models. I had to explain to my 25 year old son where I was going to draw and what I'd likely come back with, and not to worry about what might appear on the walls of my apartment! I wasn't... falling into Sloth (they're doing the 7 Deadlies, and last night was sloth).

It was a huge amount of work drawing the models last night - they start out with one model and 3 minute poses, then move onto two models with longer poses, and finish the evening with a 45 minute three model configuration. I like how my little series began, but trying to finish them so I can get back to what I was working on before the session has been exhausting, along with quite a bit of stress in my life, and perhaps it shows in the final painting, which I feel is the most worked and the least successful. Or is it my tired eyes?

Three, On The Edge, 2012, 20" x 16", mixed media, 90lb archival paper.

And Then, 2012, 20" x 16", mixed media, 90lb archival paper.

Better Left Unsaid, 2012, graphite on 90lb archival paper, image digitally finished.

This sketch is on the back of Three, On The Edge and which is now hanging on the wall. Better Left Unsaid is in light pencil, and I coloured it digitally.

Shadow, 2012, 20" x 16", mixed media, 90lb archival paper. (This is the dusting of charcoal on the back of the sheet facing the first drawing. It is the shadow of the figure on the right, and I quite like it.)

Take It Easy, 2012, 20" x 16", mixed media, 90lb archival paper.

Women Models, sketch, 2012, 14" x 14", graphite, 90lb archival paper.

A Tangle, sketch, 2012, 17.5" x 15.5", mixed media, 90lb archival paper.

A Tangle, 2012, 17.5" x 15.5", mixed media, 90lb archival paper.

Drawing at the Keyhole in April 2012. 

Photo by Susie Caboose. (I was working on And Then.)

Woman of the Sea

Whiteness, a high tide drawn by the moon. Light coiled around and inside her, claiming her. Thoughts passed through like schools of fish. Luminosity opened in the depths and kept opening.


Woman of the Sea, 2011, 12" x 10", 30.5cm x 25.5cm, India ink, conte crayon, oils on [100lb archival] paper.

She got wetted and blotted and re-painted a few times. This is what she became. Below is an earlier moment on the journey towards the final version.



Another Woman of the Sea, mostly oils on [100lb archival] paper. Those white scraping marks, like dots, on her right bother me, yet if I remove them the foreground, where she is, and the background, where the dark ocean is, separate from each other too much to my liking. Those white scrapes anchor her to the swirl of fluidity, the sea.

 .... yet I am still finding my relation to this painting like it was to the drawing, difficult.

But it's quite detailed, isn't it. About 4 layers of different coloured paint. Interesting what can emerge when you prepare for a run. :) The living room/dining room in my tiny apartment is currently set up as a make-shift studio, so it's just a few feet to the work table. But it takes gumption to get there. I did, and I done.

So tuckered out now, after that jaunt of paint, I'll have to have lunch and a rest. [ps It looks better in a large size -click on it -it'll open to a new screen.]

I am seeing the Symbolists here, and the French Surrealists.

                              

Figures

Figures, 25.5cm x 34.5cm, 10" x 13.5", India ink, oil on 100lb archival paper.

Freshly painted sketch from the life drawing session I went to in August. Probably two 3 minute poses drawn on the same page, but the imagination runs wild...

_
With thanks to Pierre-Marie Coedes for pointing out that the figures look like a couple - which I hadn't seen but did after he mentioned it.