From my previous experiments with larger scale imagery I found it essential to not only explore further details of form, but also the general shapes found within gesture. Towards the beginning of my observational sketchbook, I had completed observation sketches from life in predominantly charcoal. As these were taken at a rapid rate, a lot of form was lost. This was due to both the speed of the drawing and the lack of definition due to a soft media choice This lead me to complete some drawings with mainly pen in my sketchbook focusing on the simplistic forms, taken from some of my own photography. 

I began completing studies in biro with some aspects of charcoal retained at first. However, I found myself falling back into the habit of very expressive mark making with charcoal deviating from my initial study. I decided to remove all charcoal from my bench in order to work solely in pen. By forcing myself to define gesture in only line I had a better understanding of the shapes inside the gestures I was studying. This simplistic format of drawing the human form led me to a similar style of early cubism. Pablo Picasso's Les Demoiseles d'avignon (MoMa n.d.) similarly focused on simplistic shapes to convey the subjects. Similarities from my studies to Picasso's work can be seen in particular in the studies of arms. Looking at each component as separate shapes and joining them together at almost narrow hinges.

The images which acted as the base for my studies of simplistic gesture were taken from shoots I completed in a photography studio. I took many images looking at slow shutter speed in order to portray movement. As a result of this some of my studies required me to layer the same gesture over one another to mimic the distortion seen within my photography. Despite drawing in the same fashion as before, comparative to that of Picasso's work, my studies also mimicked that of Marcel Duchamp's Nude descending a staircase N^o2 (Phillidelphia MoA n.d.). Duchamp being also an early cubist artist, his suggestions to form are far more abstract in concept comparative to Picasso. Rather than a still somewhat organic form created from rounded marks in Les Demoiselles d'avignon, Duchamp's Nude depicts figures in mainly geometric fashion. The image was comprised of twenty individual positions each layered over one another. Similar by nature and idea of that of slow shutter speed, here many movements of the model are delayed to create the same fragmented tone. Many photographers, such as Gjon Mili, have recreated Nude descending with similar photography effects similar to what I used to capture movement.

Mili's interpretation of Nude descending takes on a far more figurative tone. Here you are able to distinguish between individual positions, this is due to the choice to have some gestures brighter and other translucent in appearance. This image is comprised of multiple shots edited over one another to create the illusion of the subjects’ journey down the staircase. When looking in detail at some of the individual gestures it is clear to see there has been an aspect of long exposure was used. A ghost like shadow of the motion can be seen to almost attach to the same limb, this mimics the fragmented nature of Duchamp's work. Despite my photography lacking this additional editing process it is clear to see the transition of how I would be able to interpret this style. A textural way of achieving this finish would be to layer the same image over itself with prints onto acetate. Within my first year in art I experimented heavily with the idea of using acetate prints in order to re-contextualise an image and found the technique to be something I thoroughly enjoyed.

Upon my recent visit to the Royal Academy of Arts for the Abstract Expressionist Exhibition I came across a piece of Mili’s entitled ‘Figure Skater Carol Lynne’ (Light painting photography n.d.). This was a style of Mili’s work that I had not previously seen however found direct links to the style I am attempting to portray within my personal investigation. Here Mili has capture the motion of a figure in a truly abstract format. I took sketches from this work and found how the image gradually developed further away from human form and more into pure abstraction. This gave me the idea to use a similar style of photography to bridge the gap between the human form and abstraction, I did this by using slow shutter speed and sparklers. Also mimicking the images created by Mili I decided to look at re-contextualising different photographs using layering, however using different subject matters. This led to an entirely different outcome within appearance, however maintaining the concept of his work. I still found this outcome to be successful as the main subject for both mages was the same model. This then created the illusion of a figure moving across the page. To further expand on this technique, I plan to include observational studies both under and directly on top of the acetate. 

Light Painting Photography (n.d.) History [online] available from http://lightpaintingphotography.com/light-painting-history/ [28 October 2016]

Museum of Modern Art (n.d.) Pablo Picasso Les Desmoiselles d’Avignon [online] available from https://www.moma.org/collection/works/79766  [28 October 2016]

Philadelphia Museum of Art (n.d.) Marcel Duchamp Nude Descending a Staircase N^o2  [online] available from < http://www.philamuseum.org/collections/permanent/51449.html> [28 October 2016]