Its been a while since my last post and things have been quite frantic. Since returning from Tanzania I have been working on drawings for the Drawing Out Obstetric Fistula show at the Royal College of Obstetricians and Gynaecologists in London in May (more on that later) but now I am in Glasgow working in the Medical Humanities Research Centre, with many thanks to the Wellcome Trust who have funded this three month visit.

Through this post are some of the drawings I have been doing in the Glasgow University Anatomy Museum.

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I am writing a paper in which I hope will put the Drawing Women’s Cancer project into historical and philosophical context. All of the work up to now on the project has been directly concerned with the here and now – with the experiences of women in the present, and this was the primary aim from the beginning . I feel however that to enhance the validity and indeed the credibility of the work, it is very necessary to ‘ground’ the project in relation to what has gone before. Here is a pertinent section of the proposal that WT approved:

The paper will look at how perceptions of the woman patient between the 18th century rise of obstetrics and the ‘man-midwife’ persona of William Hunter and his Scottish contemporaries, through the 19th century advancement of gynaecology to the present day treatment of gynaecological disease, have influenced present day attitudes – both medical and general – towards gynaecological illness and its overall impact on women’s lives, and moreover, how these attitudes were and can be affected by and through visual art. I will focus on a methodological and philosophical comparison of Hunter’s Anatomy of the Human Gravid Uterus (drawings by Jan Van Rymsdyk) and the development of my own drawings for Drawing Women’s Cancer as a basis from which to explore how visual art as a form of expression and communication can, as a form of ‘metalanguage’, effectively serve to ‘speak the unspeakable’ in this area women’s health.

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I have been here for two weeks now and it is the historical context that has been engaging my time and thoughts  as I have discovered the University Anatomy Museum. The experience of drawing from the very same bodies that Rymsdyk drew from is a gift and in many ways very humbling. Further, Glasgow University Library holds the full set of Rymsdyk’s drawings for the Gravid Uterus in their Special Collections and I spent a whole afternoon studying them, trying to understand how he executed them – one artist to another –  and I have to admit I had a few surprises after only ever seeing the reproductions. I discovered that he definitely does use graphite in the drawings,  which are often considered to be just red chalk alone, and he also uses what looks like dilute ink in blue yellow and green. The drawings are less defined and precise in the flesh -and better for that!. In some there is definitely a ‘wetting’ if the chalk – and this is further evidenced by the buckling of the paper- but it is a technique he seems to use sparingly. Most of the tonal quality comes from exceptionally sensitive blending of the chalk and overall, to my mind, he does indeed have a very ‘painterly style.

In the drawings here I have used red chalk (or at least the modern equivalent) and graphite. I am not in any way trying to emulate Rymsdyk, I am simply trying to ‘get inside his head’ in search – through practice – of the subjective nuances of what he was doing. I am also – undeniably – enjoying myself enormously, and especially savouring the necessity to get back to a level of ‘discipline’ in the work!

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