With a decade of experience in contemporary dance and choreography to compliment her role as a professional artists’ model, Katy Woods brings an additional dynamic to my theme and practice.

I first met and drew Katy at a group life drawing session back in 2017. Since that time, we have worked together in collaboration on a number of occasions. The following is a selection of Katy’s comments and observations:  

Initial Conversations & Briefing. . .
“Communication through mail email and phone and the rendering of ideas, were key for me to first understand what Rich’s theme and concepts were, and then give me time to consider what I could offer to his art making process”.

Preparation for Modelling Sessions . . . 
“Part of my role is to find clothing and props which suit the work. Fabrics that fold and flow, patterns that give order and geometry but also inspire, intimate garments to reveal form but also offer states of relaxation. Much of Rich’s work has overtones of graceful Japanese woodblocks, so this stylistic choice was taken on board in my selection for presentation”.

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Interpretation . . .
“Prior to our sessions, Rich sources various visual references, including relevant ‘works in progress’, to establish direction of his artistic aims. This gives me inspiration for poses and scenes, understanding the connection between the subject on the page and how she interacts with surrounds, and even with the viewer of the finalised artwork. It is at this point that I am able to fully embody the character[s] he is envisioning”.

Expressing the Mood of the Theme . . .
“For Rich’s continuing theme [ INTIMISM | QUIET TIME ], I thought to give particular attention to the composition of the collarbone, jaw, eye-line, fingertip, wrist and spine placement. These major elements give the most body expression, and when used together have influence over mood and flow. These base constructs have created the foundation for each pose, and to which each element is articulated to suit Rich’s direction. To assist with the flow of each pose as I move between them, I have used an overarching mood of ‘an ethereal act of being lost in thought’. This ‘mood-assist’ anchors me to the theme, ensuring the continuity of a variety of poses during sectioned sessions”.

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Performance . . . 
“To some degree during our sessions, I perform. I embody a character that would offer a particular mood, and therefore I need to intricately consider my body positions and body language. The human form is so relatable, it must be choreographed in such a manner to convey a tailored concept. My training and years of profession as a contemporary dancer gives me the tools needed to construct such imagery”.

On Reflection . . .
“I can see how the character I developed for the sessions has ‘blossomed’. In his observing and recording my art modelling style, I believe that Rich is blending my technique with his talents, to create further evolution in his artwork. His approach to art-making and use of process continues to resonate with me”.

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