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This is the continuing work in progress of a life-size figure that I am modelling in wax. The title of the piece, ‘without consent’, alludes to many issues around women, and women’s health, that have given me pause in the work that do.

More news is that I have just signed up to do a Postgraduate course in human anatomy with Edinburgh University! I have finally decided to take the plunge and study the subject more deeply so that I keep on developing my work and also enhance  my teaching abilities in the anatomy for artists course that I run at The Broadway Drawing School here in Cardiff.

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Here is my very first attempt at modelling with wax. I have a lot of experience with clay but thought I would try a new material. I’ve found that I prefer the wax…it allows me much more detail and for the particular work I do – where I need to express as much emotion as I can in the figure – it is a much better medium. I built the skull first and then laid on the muscles and the flesh as in an ecorche. I finished the piece over three days of work. This first effort will definitely not be the last!

IMG_0774IMG_0777The piece is based on Kostoglotov, the main protagonist in Solzhenitsyn’s Cancer Ward. He and I have become close friends since I have been drawing and painting him for the Cancer Ward 12 project!

Even though the Cancer Ward 12 show is now over the project continues. I am working on a publication relating to the work done to date. This, alongside a book based on the Drawing Women’s Cancer project is keeping me busy, but I still need to draw and paint, (and now model with wax ), the emotional spaces in between scientific anatomy and existential experience to keep my creative insanity at an acceptable level!

 

So, the Cancer Ward 12 Exhibition at the Dynevor Centre Gallery is now closed but you can see it on the new exhibition page on my other project site https://cancerward12.wordpress.com

Once there just click the appropriate heading on the page menu and do scroll down as there is  lot to see!

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The exhibition might be over but the work continues. I am currently putting together a publication based on the project which will be available in e-book and print format. More on that very soon.

I hope that you enjoy the page and that it provides some feel of the physical exhibition. Please do send comments/feedback either by posting here or contact me directly: jacsaorsa@hotmail.com   All such feedback really helps in progressing and developing my work.

Here is a detail of a painting for the Cancer Ward 12 project

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Through my work I have seen and experienced much that accords with the worthy aims of medicine as a science that begins with preventing, treating and/or curing illness, and, where cure is not possible, end with facilitating what has been called ‘a good death’. I have also seen and experienced things that have given me pause and reason to question. I will continue questioning on behalf of the patient.

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Its been a good first week, a very busy week and one that has afforded me  a rich opportunity to reflect on my practice in a very intensive way.  It has also brought a  complete change in the way I am working. Here, I am sitting mostly alone in the dissection room poring over small scale intricate drawings, whereas over the last few months back in my studio in Cardiff I have been working on large scale drawings and oil paintings to prepare for the Breast Cancer: a creative intervention exhibition. The difference in practical terms is stark,  but the sense of immersion in the work is the same, if not intensified, here in Dundee as when I am alone I find I can enter depths of myself that general life often dictates I should bridge. Moreover, the feeling of being so welcomed within an environment where the science behind what I do as an artist is so ‘palpable’ is  exciting and inspirational. It’s also very interesting in relation to the differences between the science lab and the hospital wards and theatres that I work in.

I am teaching here too. Running the life drawing classes and joining in on the ‘crits’ with students on the MSc Forensic and Medical Art courses is a pleasure and a great experience. It is a valuable challenge to adapt my way of teaching to address what the students need most. It helps of course that they are keen and willing to learn. In the image below thats me at the back – drawing on the wall!

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I am staying in Broughty Ferry, a small coastal  town just outside the city and it has become for me  very special place. Being by the water is always very evocative for me but that’s another, longer story! For now I simply  offer the image here (taken from the window of my rented flat) of the sunset that I came home to yesterday evening.

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The Studies for a Portrait exhibit is now closed, however for the first time I am putting up some works from the show for sale here on my website. I am hoping to raise money to fund the development of the Drawing Women’s Cancer project which is ongoing and will generate a major exhibition in November at the Hearth Gallery at Llandough hospital here in Cardiff. I am working at present on three large scale oil portraits for this project and accompanying drawings. You can find more details on the project website.

All the pieces below are from the Studies for a Portrait show. All are executed with graphite, they are signed and beautifully framed in black wood. Average size for the pieces is A3 (210 x 420mm). The price for each piece is £200 (excluding delivery)

If you are interested in purchasing any of these works please contact me: jacsaorsa@hotmail.com

Thanks!

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Just got the news yesterday that I have a small amount of funding to carry out a project that is close to my heart and I have been thinking about for ages! I am of course delighted that I’ll finally be able to realise Cancer Ward 12 working at Singleton Hospital in Swansea. Work is now set to begin in November this year with an exhibition scheduled for June 2017. More details later but for now here is a brief summary of the idea.

Cancer Ward 12 draws on literature (The Cancer Ward, Aleksandr Solzhenitsyn, pub. 1967) and on life. It is a project that, as a discrete piece of research in its own right, carried out at Singleton hospital in Swansea, has enormous potential to further develop into a comparative study. There are two parts:

The first part involves my ‘immersion’ into the day-to-day life on the Oncology Ward of Singleton Hospital, which is a thirty bed, general oncology/haematology ward where patients with a variety of cancers and disease related symptoms are treated and cared for.  Working directly with consenting patients and their family members/carers, and with health professionals and hospital staff I will document what I see and experience through drawing and written narrative. I will use a ‘narrative medicine’ approach to gather individual experiences of illness, and of different forms of giving and receiving treatment.

The second part of the project will involve developing all the notes and sketches made on site as a basis for creating a substantial a body of work  for public exhibition.

and...?detail

In support of the development of my Drawing Women’s Cancer project toward working with women who have gone or are going through the experience of breast cancer I have taken what is for me an unprecendented and indeed quite scary step! I have created a Just Giving page which can be found here.

https://crowdfunding.justgiving.com/drawingwomenscancer

You can find more details if you click on the link, and on the DWC website, but a snippet from the Just Giving page may help…

for the majority of the work I have been self-funded, and the work has taken place within the Wales area. Now I would like to expand the project to include breast cancer and take the work beyond Wales. I am totally committed to the Drawing Women’s Cancer project and from the responses and feedback I have received since the very beginning I am convinced of the necessity to continue developing the work.

Already though after only a few hours I have received some donations so I am humbly appreciative of the support out there for my work.

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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