“Draw from your uncomfortable zone” (Post 41)

Four years ago, a group of enthusiastic artists asked me to join them at an outdoor event. It was the annual festival and this group of artists would draw people’s portraits who came to sit in front of them. Anyone who wanted to have a portrait done, could sit down and the artists would start to work; the client would pay a fee. Once the portrait was done, the artist could receive the money and the model would walk away with the art work.

Even though I had experience of life drawing and portraiture, I had never done so under scrutiny of the public. “Who wants a crowd of people peeping over your shoulder and talking to you when you are concentrating?” and “What will happen if I do not get the person’s face right?” I asked myself. I protested. I did not want to join them. I was busy working on another series of portraits (in the comfort of my home) for a looming exhibition.

They did not want to hear about my problem. It turned out to be a much better experience than what I had imagined; I learned and grew as an artist and the public was just fine. I feared feeling or being embarrassed, but embarrassment never featured during the festival. Obviously, it took a while for me to get used to making art in public, but it was a very relaxed scenario and one experienced artist told me, “You can become addicted to the excitement you will experience here.” At the end of the festival I somehow understood a portion of what he meant.

With all my concerns in my head and my art gear in a trolley, I arrived at the event – which lasted for ten consecutive days. We drew from 5 pm to 10 pm. It was a challenge for me, make no mistake, but as I have mentioned earlier, it opened my eyes as well. I could not draw as fast as the other artists but I tried my best. I realized that I could draw only three portraits per evening and each drawing would take me about an hour. I had to get used to having a real person in front of me again, but most of them were lovely people to work with and we had fun. Some models wanted to fall asleep of course, but with the help of a friend the head was kept in position.

As artists we could often be seen as distant and aloof because of the reputation that precedes the word “artist”, but this “communal public exercise” was such a wonderful opportunity to bring art to the people – it was a bridge building event. My apprehensions were erased by the support of the public.

I have a few aspects I want you to consider when this opportunity comes your way: Be well prepared with regards to your art materials, take a good chair and take photographs of every sketch you make, before you give it to the client. I prepared a number of sheets at home by giving them a watercolour wash, just to break the whiteness of the paper. I photographed every sketch I made and the one I included here is of an Egyptian lady. I used soft pastel pencil over the watercolour shades. Let us take art to the people, whenever we can. (It is a little uncomfortable in the beginning.)