Day 16 (Cézanne's Play-replacement)

Workshop: Cézanne's Play (replacement)
Date: 27 December 2008
Time: 12.30-1.30pm
Participants: Chong Jun Kiat, Lai Shu Wei, Lai Wei Shen, Lennon Ng, Ng Sin-Ee
Details: The idea of Cézanne's Play derived from the 'form-oriented' approach of Paul Cézanne on the use of geometric shapes while visualizing the natural form. This truly physical activity of perceiving forms assists the participants in drawing/painting. Also from the very basic geometric shapes (cone, cube, cylinder, sphere), how can the participants imagine and rationally add in details to make each shape an object of particular interest in life. Other than the very act of seeing 2-D visuals in planar abstraction, we are also interested in the experimental Sensorimotor stage as suggested in Piaget's 4 Stages Mental Development, in which other than 'sight', touch is also an integral part of the learning process. The participants will also learn how to visualize through touching shapes, and mentally conjure up an object with details manifested by the shapes. Such were the physical ways of learning art.

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Being content with the previous Cézanne's Play session, I'd hope today another obedient batch. But some of the participants were rather ignorant and there was a juvenile fray where three were involved, eventually brought up to this one hour lesson, or somehow culminated here, hence the obedience I was hoping for was left to be indulged.

Immature yet uncompromising throwing and thrusting of words continued throughout the entire session - set a negative lot for themselves.

Same thing again, first I introduced the principle of lever and its application in layouts and conducted a simple drawing exercise where compositional balance was of utmost important. Then I got them into drawing three lines and that three lines had to be implemented in a scenery based on the structure formed. Later, three shapes (triangle, square & circle) - whether shape in a shape, overlap, separate etc - in any way, any size, therein form a still life picture or imaginatively carve a group of random objects.

Showing them the famous The Reverend Robert Walker Skating on Duddingston Loch aka Skating Minister (1784) by Sir Henry Raeburn. A visually direct example for me to explain the idea of lever, at the same time pointing out the focus point on the face as load and the leg on the left as effort that holds the entire balance of the picture and the person itself, and the standing leg as fulcrum.

Participants were asked to compose a visual composition with lines and dots varied in size, blackness and thickness.

The 3-line method can be useful if you are running out of ideas in composition.

Some might find it difficult; clearer explanations with lots of patience should do.

After the all too planar drawings, we arrived to more sensational exercises - aforementioned in the details of the workshop, playing with shadows and the sense of touch.

Not a guessing game, but rather they have to think about a plethora of possibilities signified by the shape(s) silhouetted before the light source, as the pictures below:

What can this shape be?

Marilah kita berwayang-kulit.

What's this? A deer or some horned antagonists of the Hindu epics?

Then it's time to get your fingers wantonly sensible:

They have to draw out what they have touched in the black bag. By touching the shapes, they have to imagine and visualize the details.

Ever wonder what's inside?

A physical exercise - visualizing through touch.

The workshop got better when they have such fun. But the exchange of scorn persisted till end while I nagged tediously, and such a mundane cacophony too - till end.