Tacita Dean: Antigone 4 – It looks like we missed the sunset.

230818 - TB28aThe forth and final part of my instant drawings from the showing of Tacita Dean’s film “Antigone.”

230818 - TB25a

230818 - TB29

The other parts (if you haven’t seen them yet, and want to!) can be seen here:
Antigone 1 – Where did I get the courage to put out my eyes?
Antigone 2 – Why did it take so long? …to get from there to here?
Antigone 3 – How did I get my name?

Tacita Dean: Antigone 3 – How did I get my name?

 

220818 - TB17a

Oedipus

Part 3 of my instant sketches from the showing of the Tacita Dean film “Antigone.”

Assuming you would like to…
The other posts connected to this film can be found below:
Antigone 1 – Where did I get the courage to put out my eyes?
Antigone 2 – Why did it take so long? …to get from there to here?

Tacita Dean: Antigone 1 – Where did I get the courage to put out my eyes?

160818 - TB1a

The following sketches, and the ones I’m going to put in the next three blog posts, were all drawn at lightening speed – just a few seconds each – trying to capture the thrill of seeing Tacita Dean’s film “Antigone” that was being shown at the Royal Academy in London. Screen shots – a moment in time.

Continue reading

Walking with Rodin.

When he was talking about his sculpture “The Walking Man,” Rodin comes up with the wonderful quote: “It is not my Walking Man in himself that interests me, but rather the thought of how far he has come, and how far he has yet to cover.”

090818 r1

“The Burghers of Calais” being paraded before the public.

This quote I feel applies both to the recent British Museum exhibition “Rodin and the art of ancient Greece,” which examines the influence of the sculptures from antiquity, in particular the Parthenon, on Rodin, and also Rodin’s own philosophy that enjoyed the effect that time has on sculptures (the lack of limbs, heads and general knocks that they have taken over the millennia), and makes a feature of it in his own work.

The Elgin marbles in the British Museum never really grabbed my attention before, but this exhibition made me have a truly great respect and admiration for the sculpture created by Pheidias. The man was a genius in how he could transform and manipulate the cold hard and heavy marble into living flesh, and to make it look as if it weighed hardly anything.

090818 r2Apart from the drawing at the top of Rodin’s “The Burghers of Calais”, for which I found a convenient seat, it was too crowded in the exhibition to be able to draw anything comfortably, so I took myself off to the Parthenon Gallery within the British Museum to view the remnants that didn’t make it to the exhibition, and here I managed to draw this horses head, originally one of four that was pulling a god’s chariot from out of the waves.