Because of this, with Kate around I would often leave academia behind. No longer influenced by different artists I had studied, the poses were more internal. I found those sessions extremely freeing, and I could tell that modeling was more than a series of angles, line and curves, but about an energy and feeling. It was during a shorts session that I discovered “animal poses,” where I could crouch and crawl. My wrists would ache and legs fall completely asleep, but the energy in the room felt perfect. Kate was the first to throw me in a pair of heels, which became somewhat of a tradition, and for some reason they inspired me as I collapsed my ankles or perched on top of the platforms.
I loved discovering the differences in artists work, learning how to become a positive influence on their artistic process, adapting to their varied whims and styles.
I personally had always preferred figure to still-life and landscape, but before my switch to the other side of the canvas, paper, camera, whichever, I hadn’t completely understood. If any art has to do with humanity, it would be the unavoidable intersection between model and artist that is shown in any representation of a body. In the moment shown in the drawing, painting, photograph and sculpture, the model is able to provide what the artist wants, and this collaboration, the power of the object to react and adapt, is what makes figure unique.