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Here is the first post on a new blog that I have started today. the bog is entitled The Loneliness of a Long Distance Anatomy Student and you can find it here: The Loneliness of the Long Distance Anatomy Student

As always, all comments/feedback for any of my posts are very welcome!

Today I am beginning a PG Anatomical Sciences Online Distance Learning program with the University of Edinburgh. I have decided to launch myself into this because, although as a classically trained artist I have a grounding in superficial musculo-skeletal anatomy, this is not enough for me! I want to go further, deeper, and bury my subjective, qualitative and humanist mind into the fertile soil of the objective, quantitative and scientific field to find out what will grow from such a symbiosis. The seed has already been sown by my explorations into anatomical details in dissection labs both here and in the USA, and through my teaching anatomical form and function to other artists who  hunger to understand what lies beneath the surface. But now,  ‘subcutaneous’ knowledge must give way to a more thorough comprehension and for that I need what can often be an anathema to an artist…I need structure and discipline!

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This blog then will become a repository for my thoughts and for my feelings, for my frustrations (which I am sure will become close companions) and my joys (of which I  hope there will be some!) throughout the process. I hope that the posts I will offer here will be of interest to artists and to scientists alike because ultimately I am convinced that both need each other just as flesh needs bone.

I am quietly excited.

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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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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.

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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Remnants

There’s that smell again

Familiar to me now

not the smell of Death so much as of lives once been

Remnants steeped in Thiel fluid

the smell of life deconstructed

Number [—-]

A head torn from the vertebrae

Mouth agape as if gulping a final breath

Skin flayed from the mandible

Eyeless sockets that still see me

plead to be once more hidden under the plastic shroud

Cold

I am cold

It is cold in here

The remnant of his eyebrow expresses such pathos

Defying recourse to objectivity

to cold death

My drawing begins to change

I pull back the plastic shroud even further

ignoring entreaty

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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