Register of Models............

There are now of course, with the advent of electronic databases, registers of Life Models, though in reality the majority of models are booked because they are known to the tutor, or the college/institution. Trying to bring about a general and national rule book and salary/pay scale, as the website http://www.modelreg.co.uk/links.htm tries to do, is pretty fruitless, as rates of pay and conditions of employment vary as much as the distances travelled to the sessions. The site is worth a look, though most of the information, especially concerning photographs and joint posing, is very out of date, and therefore mis-leading.........

Exhibitionism?

When we are asked, whether as a male shed or a female shed, why we are life models, the answer can vary from reasons to do with money, convenience, personal study or any other logical reason. Cast-off Drama in Leeds have investigated the question of why some women will disrobe, and some women won't. Closely linked to voyeurism (below) is exhibitionism. Are life models exhibitionists? Do they have a need to undress in public apart from a monetary one? Is getting undressed in a small shed or beach-hut exposing more than skin and bone? Click on the link above to find out what Psychnet-uk say about exhibitionists, over and above a basic definition below;

Many mild and considered acceptable forms of exhibitionism are considered normal in our culture. Children often have a natural curiosity about their genitals and the genitals of others. Young children may like to try to shock adults or other children by showing their genitals or underwear. This is typically a passing phase and only calls for professional treatment if it persists. Similarly, adolescents have been expressing disapproval through "mooning" for years. Wearing suggestive clothing or strip teasing for a significant other are common activities.

Perceptions of the nude body in art............

A question often asked, when it is mentioned that one is a life model is; "Don't you get embarrassed?". This in itself can have several connertations. In April this year, at the University of Miami in the USA, a study was conducted to find out whether a nude body in art was considered artistic or erotic. Nine examples of artworks were chosen, and based on these works, certain assumptions were made as to the results, taking into account such things as exposure to the arts, age, gendre, subject etc. The results, however, were a long way off the predictions. Click on the link above to view the complete survey.

Rules of Life Drawing / Codes of Conduct

Are there any unwritten rules/codes of conduct that apply to a life drawing session?

This question was posed to both artists and ourselves throughout the event but it wasn't until the Roundhouse session that we began to get some clear answers. Up until that point the artists had offered responses that indicated there was no rules or the answer was avoided. Whether that was due to the way we worded the question or whether it was that the artists in the Roundhouse were just more willing to respond i uncertain. However, the following answers do touch on some interstingpoints.

One of artists said she wouldn't normally shake my foot as it poked through the paper. It was only because of her familiarity with me that made her feel it would be ok to do so. The 'normal' rules of life drawing were clearly defined by another artist in the session:
1 Don't touch the model
2 Don't talk about the model's appearance
3 Teacher directs the session NOT the model
4 No talking
5 No flirting or acknowledgement of the attractiveness of the model.

The link relates to Pete Panse, an teacher in the US who has been suspended for recommending that his high school students attend life drawing classes. Apparently he's broken the rules. The website also contains a petition to get him reinstated.

4 The Roundhouse

The Roundhouse event was our final 'Naked Shed' happening. The actual space was larger but inside we created a paper shed for the model to sit in or interact with. Again we didn't have a particular set of guidelines as to what we were going to do since we wanted the experience to be organic, to unfold during the event.


Questions from Male Model to Female Model

Q: Did this shed feel any different to model in as opposed to the Dartington shed, and if so how?
A: Yes it felt very different in many ways;
The venue was enclosed so that was different, though I was aware of outside noises like bird song as were several of the artists who commented on how quiet and peaceful it was. There were also a couple of funny moments when the ducks could be heard quacking outside as they came into land. How did the peace and quiet affect the situation?

Q: Do you think the experience would have been significantly different if you hadn't known the artists involved?
A: Yes I think it probably would have. Although I didn't know all the artists I knew most. A strong rapport has been built up between us and I'm sure that made the whole experience more comfortable. Whereas more adult issues of voyeurism etc came up in the last session, in this session, childlike issues such as fantasy and play arose also. When I stuck my foot through the paper shed the shadows created reminded me of Aurelia's "Oratorio" http://www.glennmeads.co.uk/archive/aurelias.htm

Q: Did undressing in front of the artists feel comfortable?
A: To be honest, I'd almost forgotten I had so yes I suppose! I undressed within the paper shed so was very unconscious and protected in my paper space.

Q: Were you conscious of artists peering through the holes in the tent? If so, how did they make you feel?
A: At one point I felt aware of an eye staring down at me and couldn't resist the urge to turn round and have a look. I knew the artist well and seeing only her eye peering down at me made me laugh out loud again raising questions such as "How funny can life drawing be?" And "Is it only experimental life drawing that creates such humour?"

Q: Did the shadows on the tent create any particular feelings, and if so what?
A: Yes as I mentioned before, the shadows took me back to a feeling of childhood, a place where magic and mystery becomes alive. The shadows changed the shapes making things appear bigger than they really were. When I poked my foot through the shed the shadow created on the paper was that of a huge foot that made many of us giggle. I guess then it's impossible to draw things how they're supposed to look because the shadow has distorted the image so much.


Q: Did you consciously choose poses to suit the circumstances?
A: I did with the "foot" pose. At another point I decided to pull on the dowelling that was holding the shed up. I felt like I was interacting with the paper venue. The venue gave me a context in which to pose, a medium to bounce off.

Q: Do you think the session forced the artists to consider drawing in a way that they would not normally have done if the tent had not been there?
A: Yes maybe not "forced" but "encouraged" though. I did observe at several points that the artists were all standing up whereas in the "usual" setting many are sitting down. Such liveliness and hilarity must have an effect on the drawing. It would be interesting to find out.
Q: Do you feel the artists were comfortable with the session?
A: Yes although I did observe one artist becoming frustrated that she could not see the whole figure and I was secretly hoping that she might so and rip the shed down!

Q: Were you any more self-conscious of your body in this session as opposed to other sessions?
A: No I was a lot less self conscious which I think comes from knowing the artists as well as being in an enclosed space.

Q: Did the fact that the artists were that much closer than a standard life drawing session make you feel any different?
A: It felt safe and cosy.

Q: Did you feel enclosed within the tent, or did the closeness of the artists nullify the effect of the tent?
A: No, I still felt enclosed within the tent but later on I did fell an urge to break free and escape. So I pulled more heavily on the catgut that held up the shed. Perhaps that is why I also chose to burn the paper shed at the end of the session so I could symbolically break free of the confines of my own limitations. Does the shed represent those limitations? I think in certain ways, yes it does.

Q: Did drawing a part of you in details, i.e. your foot, make you feel any different, and if so how?
A: Yes as explained before, it made things different and amusing. I think some of it I just did for laughs and some of it just because it seemed an obvious way to interact with the shed.

Q: Did not being able to see the artists at all times make you feel any different?
A: Yes but again in a playful way. Almost like I was playing a game of hide and seek.


Q: Have the four sessions changed your view of life drawing, and if so how?
A: Yes I think experimental life drawing in terms of venue and medium is useful and fun. It helps both artist and model to explore new avenues of perception and break free of the expected mould.

Q: Have the four sessions made you feel any more confident
1) as a person?
A: I was very aware, certainly in the Devon sheds of how much freer I felt in myself in general.

2) with your body?
A: Yes I notice how generally unselfconscious I feel in a life drawing session but I still feel apprehensive about walking down the beach in a bikini.

Q: Has this project made you want to explore life modelling further?
A: I'd like to play more in modelling and set up events that might encourage that.

Q: Do you feel that working collaboratively has created more outcomes/questions than if you had worked singularly?
A: Yes, I know I'm full of ideas but working with someone who is a much better organiser and instigator than I am helps me to see those ideas acted out. And to me experience seems the best way of really finding out about things.

Q: Do you feel there are different questions that need asking from a male viewpoint, as apposed to a female one, as a result of this project?
A: I'm sure there are many questions that need asking from both viewpoints. I believe all sorts of assumptions are made but to get away from these assumptions we need to ask open-ended questions that don't lead those questions toward any kind of response. Over the sessions I have heard a number of artists, both male and female express their preference of drawing the female form. Is this the same everywhere and if so why? Is it just because of fashion? Had these sessions been done in Greek times would the preference have been the same?

Q: During this project, have you felt the object of voyeurism any more than during a more orthodox drawing session, and if so when?
A: No, no more than usual! In that I mean these questions do arise from time to time in life drawing sessions and these events have given us an arena to explore these issues that are usually not mentioned.

Q: Would you now say that you prefer to model outside the conventional "white cube" as a result of this project, and if so why?
A: Yes because it's more fun, more artistic and more things can happen. Boundaries of perception are pushed further and I feel encouraged to think outside the envelope therefore moving away from concept and deeper into experience.

Q: Do you have any other facets of life drawing that you feel need investigating as a direct result of this project?
A: For me this project has re kindled my love of life drawing and I would like to take this love into more and more public domains namely because I like art in the public domain as well as in the gallery. I like art that challenges perceptions and shakes up viewpoints. Therefore I would certainly like to set up more life drawing outdoors and challenge perceptions that somehow nudity endangers our children and should be discouraged.

Q: Would you have undertaken this project had it not been for the ACM module, and now that you have, are you pleased that the situation arose?
A: I think that I wouldn't have undertaken this project had it not been for this ACM module. The module has given me a reason and a deadline to enact my ideas. I found this to be very helpful.

Q: Do you think the amount of time/money invested in the project has been cost effective in achieving our desired results?
A: To me a shed is a very homely object. I wanted to keep the project within that arena. So cost has not been a huge aspect of this project so in that sense it has been very cost effective financially. Instead of hiring venues, venues were loaned in exchange for cakes! Also perhaps because were artists, the beach hut was "given" to us for the day. And although the artists in the Hebden Bridge venue paid (though they didn't have to), that money went to the long standing drawing group and covered venue costs such as coal and electricity.
As for the time invested, I think it was all well worth it.

Q: In retrospect, would you have undertaken the project any differently?
A: No I don't think so because it is the experience of this unique event that has lead me to where I am now. Had I undertaken the project any differently I may not have ended up in the same place.

Q: Do you believe that a male/female perspective was essential in the project?
A: No, I don't think it was essential but I think it has provided us with several interesting questions and an arena for further study i.e. What would this project be for a transsexual model?

Q: Any other comments?
A: Soon!!!

Questions from Female Model to Male Model

Q: This was the first completely enclosed environment. Did this influence you experience in any way. If so, how?

A: As the artists were friends of yours already I also felt as if I knew them. This probably did have an influence on my experience. Because it was an enclosed space, and an intimate one, I felt as if I was one of the group, and therefore felt quite at ease.

Q: Did you feel like the paper shed was your own personal space or did it belong to the whole group?

A: I felt as if I was in control of the paper shed, and it was indeed my space. The fact that artists could peer into it did feel strange, as if they were invading my space.


Q: Describe your observations of the artists in response to the paper shed in terms of
atmosphere.


A: The artists as regards behaviour seemed no different to a normal session. If you mean my observations visually, i.e. as a result of looking at them, I didn't consciously look at any artists. Being so close to them it didn't feel appropriate.

Q: Describe your experience of being looked at through a small hole?
A: It was a feeling I had never experienced before. Obviously in a normal life drawing session one is looked at and observed all the time, but no specific part of a model's anatomy is consciously drawn at such close proximity, or singled out for observation. This did feel very strange, irrespective of the part of me being drawn. This I feel was the nearest I have got to feeling that a drawing session was in some way erotic as well as artistic.

Q: Describe the effects the shadows had on your experience and detail any questions raised?
A: Because the shadows were sometimes very sharp, the artist was obviously very close, consequently this felt very strange. Also, I didn't know who was the other side of the paper, and not knowing who the artist was is something that never normally happens in a life class. I wouldn't have said that I felt uncomfortable with the situation, more so excited, though I think this is because it was a new experience rather than for any other reason.

Q: Did any issues of gender arise/not arise?
A: As there was only one male, it isn't easy to answer that question. The fact that so many women were that close as apposed to men probably does raise questions, though what I can't say for the reason stated.

Q: Did any issues of familiarity arise/not arise?
A: Not sure I understand the question. The whole session was a life class, so the basic rules and modes of etiquette that normally apply did so in this case, though if the session had not been planned as an investigation into space within a life drawing context, the rules would certainly have been bent, if not broken.


Q: Did this experience push the boundaries of conventional life drawing in your opinion and if so how?
A: Yes, definitely. The closeness of the artists was very different in this situation as apposed to the beach hut, where I was fully aware of all the artist’s movements, from hand movements to eye movements. Not knowing where the artists were, and also not knowing what they were drawing, was very unconventional. Inviting an artist to a life drawing session is an open invitation to observe and draw your body, but drawing a part of a body from close range as apposed to the whole body from a distance then pushes the boundaries of drawing further towards an anatomical observation as apposed to an artistic one.

Male vs Female Models

During our events, a number of discussions arose concerning a general desire to paint the female nude more than the male. Interestingly most of these discussions were between women and not men. The only male artist to say something simply said he'd wait for the female model to pose. Although he didn't say that he preferred painting women, I would assume that that was what he meant. So why is that? Is it just the fashion of the day? After all, it's well documented that in Greek times most models were infact male even if the female form was being represented because in those days, men were seen as more beautiful.
In the above painting, Jenny Saville has chosen to push those boundaries further, by creating a painting that represents the human figure between genders. I find this image both disturbing and compelling to look at. The figure is beautiful, very feminine possibly describing her inner feelings but essentially the body is male. The Naked Shed events questioned models experience in terms of gender but what's it like for someone between genders? What do you think?

Voyeuristic?

When we started this blog, the idea was to document our project from both a male and a female shed perspective. We are also documenting relevant writings on the subject of life drawing, especially if they relate to life drawing in a restricted space, and the connertations that this throws up. Drawing a life model in a conventional space would not normally suggest ideas of voyeurism, but if the model's "space" is restricted, and you need to peer through a restricted gap, the word voyeuristic may well be applicable. The Christian Apologetics & Research Ministry had this to say on the subject...

A voyeur is a person who derives sexual gratification by watching the naked bodies and/or the sexual practices of others. Usually, the voyeur watches from a secret vantage point. Voyeurism is a sinful act because it violates the privacy of a person or persons and because it can also include observing sexual relations between two people. A voyeur who watches a naked person or persons without their knowledge essentially "steals" from them that privacy and intimacy intended only for the self and or the person's spouse. Even if the voyeur has the consent of the other(s) it is still sinful since true nakedness and sexual relations are only to be enjoyed between a husband and wife. Furthermore, voyeurism is a lustful action, something that is denied by scripture.
Matt. 5:27, “You have heard that it was said, ‘You shall not commit adultery’; 28 but I say to you, that everyone who looks on a woman to lust for her has committed adultery with her already in his heart."

Nudity and The Law

Nudity in art is commonplace both in historical and contemporary art. So the curator must understand what is and is not law abiding so informed choices can be made. Indecent Exposure is illegal however, as a retired police officer with over 30 years experience noted, " Unfortunately I don't know what indecency means - and neither does the Law - so a decision as to what is indecent is usually left to a Magistrate or Jury."
Is this why hysteria sometimes follows nudity, because no one really knows where the law stands or is it something else?

3 The Dartington Shed

The setting for this shed event was completely different from the last two. It took place in a shed that had been stored out of the way until Summerschool whereupon its brought out and used as a tuckshop. For our event, the shed was located at the back of a building and at the bottom of a small gravel slope that lead up to the top car park.

Questions from Female Model to Male Model

Q: Given that the shed was in a public place, accessible to any member of the public, including students, were your feelings any different before or during the session compared to any other session?

A: Yes but less because I thought that anyone would just turn up to draw and more because I could hear the cars heading to and from the car park. I felt a bit like I was naked in a road side café. This was the only place that I thought someone might just turn up by accident. I began modelling first thing at 10am and there was only one artist at that time. In the shed, I couldn't see what was going but I could hear a car stop, the door slam and then lots of heaving around like something was being dropped off or picked up. I did find it disconcerting that whoever it was might suddenly stumble upon us. How was I going to explain this one? What is ok and normal in one context, ie being a naked model for a life drawing session is not at all normal in another context, ie being stumbled upon naked in a shed by the bin man. Would that be indecent exposure or would I have to run over to the bin man or coerce him to come over to the shed for that to be the case?

Q: Did you feel inhibited about showing drawings of yourself to the public who were looking at the washing line - If so, why?
A: No it didn't occur to me to feel inhibited about showing pictures of myself however I did feel nervous about hanging up the pictures I'd drawn because they weren't up to my usual standard! I found that by modelling and drawing and curating, I couldn't get into the drawing as much as I would have liked. To draw, I find that I need to be able to really switch off so I can immerse myself in the drawing, to express feel and sense what is in front of me. So is it advisable to draw, model and curate for me to get the best sense of drawing? - No.

Q: Were you conscious of the cars going by?
A: Yes, as explained above.

Q: Were you conscious of people stopping to look at the pictures on the washing line - and if so what affect did they have?
A: Yes I was aware of people stopping to look. I felt happy and exited that we so many people did stop. I heard it provoke debate as such questions were asked as, 'Where's all the life drawing gone at Dartington?' It seemed to provoke nostalgia and a harking back to the days when fine art was a degree course. Lots of people said it was a really good idea and some wanted to know if it was going to happen again.

Q: Do you feel you would have felt any apprehension should one of our ACM students have decided to draw you, and if so why?
A: Yes certainly in the morning before I got to the shed, I was concerned about a fellow student coming to draw. I didn't want to be seen as an exhibitionist or weirdo and since most of the other students are younger and slimmer than me, I was scared of being judged. Fortunately I did realise these were irrational fears and my overriding drive was to go ahead anyway whoever turned up. But I did feel the most out of control in this session because it felt the most public. Who would turn up? Anybody. I didn't know. The arena was wide open.

Q: Did this session feel any different to any of the other two this week and if so why.
A: Yes as explained above. It also felt more backstreet like it wasn't organised but just happened a bit like being naked behind the bike shed.

Q: Were you conscious of the artists looking in on you through the hatch?
A: Yes. That was kind of strange but also seemed perfectly natural. The hatch was down so obviously the artists were going to use it as a place to draw from. It provided a perfect resting place to lean boards and drawing pads on.

Q: Were you any more self-conscious of your body with the artists being that much nearer to you? If so, did this make any difference to the poses you chose?
A: No, not like the beach hut. Because there was a wall between us I felt like the artists were a good distance away. At first though I sat on a chair on a table and felt like I was an exhibition on show. That was a little strange at first as I peered down from my plinth but I soon got used to it.

Q: Do you feel that modelling out doors is any different to modelling indoors, and if so why?
A: Yes because it's much more public. Modelling outside is more exposed. Almost anyone could turn up and there would be no protection. And because of that, ironically it brings greater freedom.

Q: Having modelled outdoors and in the public arena, and with the private shed in Hebden Bridge coming up, what other aspects of life modelling would you like to investigate?
A: I would like to have a modelling in the town square day. I'd like models to be dressed in naked suits and for people to be invited to draw. What questions and responses might arise from such a session?

Q: Have any of the sessions this week meant more to you in terms of pushing boundaries than the others and why?
A: I'm not sure if one was more significant than the other more. They all pushed boundaries in different ways; the greenhouse because I've never known modelling in a glass house; the beach hut because it is such a small space and you can hear children outside which brings up questions of naturism and acceptability around children and the car park shed because it was in a car park! And so it brought up more feelings of safety and what would the consequences be if anyone just turned up.

Q: Which one of this weeks sessions do you feel pushed boundaries the most for the artists and why?
A: My most noticeable observation was of the first artist in to the beach hut. He was very nervous and it looked like that nervousness arose from being directed through a curtain into a very small space with a naked model on a deck chair. Where else are you directed through a curtain into a small space? Amsterdam??

Q: Will the session in Hebden Bridge alter as a result of the sessions in Devon - if so why?
A: Yes the session in Hebden Bridge will be in a larger space. Originally I wanted to hang up a curtain so it can be peeped through. Now I want to get deeper into the shed theme and create a paper shed within the shed so the artist can be in the shed. I like the idea of focussing on the artist actually in a separate space with the artists being invited into that space in one way or another. Because the shed will be made of tissue paper, issues of light and shadow will arise. How will this affect the drawing and the experience for both artist and model?


Questions from male to female model

Q: Given that the shed was in a public place, accessible to any member of the public, including students, were your feelings any different before or during the session compared to any other session?

A: Yes but less because I thought that anyone would just turn up to draw and more because I could hear the cars heading to and from the car park. I felt a bit like I was naked in a road side café. This was the only place that I thought someone might just turn up by accident. I began modelling first thing at 10am and there was only one artist at that time. In the shed, I couldn’t see what was going but I could hear a car stop, the door slam and then lots of heaving around like something was being dropped off or picked up. I did find it disconcerting that whoever it was might suddenly stumble upon us. How was I going to explain this one? What is ok and normal in one context, ie being a naked model for a life drawing session is not at all normal in another context, ie being stumbled upon naked in a shed by the bin man. Would that be indecent exposure or would I have to run over to the bin man or coerce him to come over to the shed for that to be the case?

Q: Did you feel inhibited about showing drawings of yourself to the public who were looking at the washing line - If so, why?
A: No it didn’t occur to me to feel inhibited about showing pictures of myself however I did feel nervous about hanging up the pictures I’d drawn because they weren’t up to my usual standard! I found that by modelling and drawing and curating, I couldn’t get into the drawing as much as I would have liked. To draw, I find that I need to be able to really switch off so I can immerse myself in the drawing, to express feel and sense what is in front of me. So is it advisable to draw, model and curate for me to get the best sense of drawing? – No.

Q: Were you conscious of the cars going by?
A: Yes, as explained above.

Q: Were you conscious of people stopping to look at the pictures on the washing line – and if so what affect did they have?
A: Yes I was aware of people stopping to look. I felt happy and exited that so many people did stop. I heard it provoke debate as such questions were asked as, ‘Where’s all the life drawing gone at Dartington?’ It seemed to provoke nostalgia and a harking back to the days when fine art was a degree course. Lots of people said it was a really good idea and some wanted to know if it was going to happen again.

Q: Do you feel you would have felt any apprehension should one of our ACM students have decided to draw you, and if so why?
A: Yes certainly in the morning before I got to the shed, I was concerned about a fellow student coming to draw. I didn’t want to be seen as an exhibitionist or weirdo and since most of the other students are younger and slimmer than me, I was scared of being judged. Fortunately I did realise these were irrational fears and my overriding drive was to go ahead anyway whoever turned up. But I did feel the most out of control in this session because it felt the most public. Who would turn up? Anybody?. I didn’t know. The arena was wide open.

Q: Did this session feel any different to any of the other two this week and if so why.
A: Yes as explained above. It also felt more backstreet like it wasn’t organised but just happened a bit like being naked behind the bike shed.

Q: Were you conscious of the artists looking in on you through the hatch?
A: Yes. That was kind of strange but also seemed perfectly natural. The hatch was down so obviously the artists were going to use it as a place to draw from. It provided a perfect resting place to lean boards and drawing pads on.

Q: Were you any more self-conscious of your body with the artists being that much nearer to you? If so, did this make any difference to the poses you chose?
A: No, not like the beach hut. Because there was a wall between us I felt like the artists were a good distance away. At first though I sat on a chair on a table and felt like I was an exhibition on show. That was a little strange at first as I peered down from my plinth but I soon got used to it.

Q: Do you feel that modelling out doors is any different to modelling indoors, and if so why?
A: Yes because it’s much more public. Modelling outside is more exposed. Almost anyone could turn up and there would be no protection. And because of that, ironically it brings greater freedom.

Q: Having modelled outdoors and in the public arena, and with the private shed in Hebden Bridge coming up, what other aspects of life modelling would you like to investigate?
A: I would like to have a modelling in the town square day. I’d like models to be dressed in naked suits and for people to be invited to draw. What questions and responses might arise from such a session?.

Q: Have any of the sessions this week meant more to you in terms of pushing boundaries than the others and why?
A: I’m not sure about more. They all pushed boundaries in different ways; the greenhouse because I’ve never known modelling in a glass house; the beach hut because it is such a small space and you can hear children outside which brings up questions of naturism and acceptability around children and the car park shed because it was in a car park! And so it brought up more feelings of safety and what would the consequences be if anyone just turned up.



Q: Which one of this weeks sessions do you feel pushed boundaries the most for the artists and why?
A: My most noticeable observation was of the first artist in to the beach hut. He was very nervous and it looked like that nervousness arose from being directed through a curtain into a very small space with a naked model on a deck chair. Where else are you directed through a curtain into a small space? Amsterdam??

Q: Will the session in Hebden Bridge alter as a result of the sessions in Devon – if so why?
A: Yes the session in Hebden Bridge will be in a larger space. Originally I wanted to hang up a curtain so it can be peeped through. Now I want to get deeper into the shed theme and create a paper shed within the shed so the artist can be in the shed. I like the idea of focussing on the artist actually in a separate space with the artists being invited into that space in one way or another. Because the shed will be made of tissue paper, issues of light and shadow will arise. How will this affect the drawing and the experience for both artist and model?

A couple of drawings from our sessions........

These two images of the same model show how different representational drawing can be. Interestingly, both these images show the whole model. This could not be seen at any one time because the structure of the greenhouse created a grid over the model. Most of the drawings from the greenhouse session didn't include the greenhouse. However, I drew the grid once or twice along with one other artist. We both agreed that the grid like structure reminded us of drawing with a grid at school. I didn't like it. To me, it prvented the natural flow of the drawing.

And another...........

A picture drawn from our Greenhouse session.........

What is it like drawing a naked life model?

Jonathan Cooper is Manager of Information at the Art Gallery of New South Wales in Australia, and if you click on the link above, you will find an interesting account of what it was like for him to attend a life drawing class. He also gives an account of what he thinks it is like for a (female) life model in a class situation. Here is a brief snippett of the article;

"It is no secret that life drawing is a very artificial activity. It has well established rules, most of them unwritten, most even generally unstated. As a draw-er I am not supposed to think of the model as I did just then. Instead I am supposed to think of her as a form to be studied, a collection of surfaces and tones, just as a pumpkin is a collection of surfaces and tones. For her part, the model is expected to think of herself in this way also. To this end, she must virtually leave her own body and cut herself off from the reality of the room she is in".

2 The Greenhouse Experience

The Greenhouse event was the second of our four events and took place in the beautiful garden of two artists, Vera and Peter. It was a really warm and sunny day, at times extremely hot in the greenhouse causing us models to drip with perspiration! Did that bother us? How did this experience differ to the previous day?

Questions from Male Model to Female Model

Q: Did you feel enclosed in the greenhouse?
A: No. Obviously it was glass so I could see out. The frame around me didn't make me feel hemmed in. Moreover, I felt 'safe'. I could see out yet no one else was in there with me. The only time I felt more insecure was when you were modelling in the greenhouse too. Somehow my space had been thwarted so I curled up on the chair and faced away.

Q: Did you feel the greenhouse was your space?
A: .Yes completely. The structure provided a boundary. This is my space. That is yours.

Q: Did you feel naked in the greenhouse? If you did this session again, do you feel the situation would be any different with the door shut?
A: I felt naked because I was naked. I think if the door was shut, I would have felt hotter and more uncomfortable. Also, I would have felt cut off from the artists so wouldn't have liked that as much.



Q: Did you feel artists viewing any differently than a normal life drawing session?
A: Not especially. At one point, however, I noticed Geoff sitting hidden in the grass. I was almost unaware of him until that point and felt like I'd been sneeked up on.

Q: Did you feel any different in the greenhouse as apposed to the shed?
A: Yes the greenhouse was more fun because it involved all the artists. As a model I feel like a performer taking centre stage so more artists is better. However if there were so many artists that they stopped communicating with me and saw me more as the object to draw I wouldn't like that as much

Q: What etiquette is left when a model has her own space?
A: Not sure I understand the question

Q: Did you feel any differently about your body in the greenhouse as apposed to the close proximity of the hut?
A: Yes I felt like my body was less on show in the greenhouse. I was certainly aware of the close proximity of the beach hut.

Q: Did a joint pose make you feel any different, and if so, why?
A: Yes I didn't feel so comfortable. One of the artists suggested the idea so I didn't feel completely in control from the beginning. However, these observations are subtle nuances and didn't affect me strongly.

Q: Were you conscious of the photographer being there?
A: No, not in the greenhouse, not when I was modelling anyway.

Q: Were your poses different in the greenhouse as apposed to the shed?
A: Yes in the beach hut my poses were very conservative, i.e. resting on the chair and that was about it.

Questions from female model to male model;

Q: How was modeling in a greenhouse comparable/contrastable to modeling in a
beach hut as well as 'usual' modeling experiences?
A: I found the experience very similar to both the shed one and usual modeling experiences, mainly because communication was possible, as well as limited vision.

Q: It was very hot in the greenhouse. How did that affect your experience?
A: I didn’t feel the heat affected my experience at all.

Q: Were you aware of being in a different 'space' to the artists? Describe
A: Apart from a few comments of “isn’t it hot in there?”, not really.

Q: How did the 'garden' impact on your experience?
A: The garden was very much an oasis, and the modeling seemed to fit in perfectly with the surroundings, especially considering the sculptures dotted around.

Q: Did you feel freer/more constrained in this environment?
A: Definitely freer.

Q: Were you aware of any insects/smells/the soil in the greenhouse? How did
that affect your experience?
A: I was definitely aware of the occasional insect, as well as the soil, but this didn’t affect my experience at all.

Q: What was your relationship with the artist/ individually or collectively?
A: Very much a model posing.

Q: How involved with the 'drawing process' were you? Describe
A: I don’t feel as if I am involved in the drawing process at all. My decisions regarding style of pose and length of pose are a process allowing the drawing to take place, but not part of the drawing process itself.

Q: How did you undress/dress for the session? Did you observe any
implications/notice any comments of lack of them? How did you feel?
A: I undressed outside the greenhouse, with no apparent comments. I felt as if it was up to me to decide on my undressing routing, and felt as normal as in any other session.

Q: Has this encouraged/discouraged you to draw?
A: At present neither.

Q: Has this encouraged/discouraged you to curate further events? If so what?
A: I will curate further events, but only if there is a specific reason to do so, i.e. if funding is involved


Q: Has this encouraged/discouraged you to model?
A: The positive responses from the participants have been encouraging, but would not affect my decision to continue or discontinue modeling.

Q: How does the modeling and curation relate/not relate?
A: As the project is model led the models therefore act as curators.

Q: How did you experience Kevin, the photographer?
A: I was conscious of him for approximately 10 minutes, but then forgot he was there. As he was a prima-face part of the “art” establishment it was presumed that he would adhere to personal requests regarding observation and conduct.

Q: In your opinion how does one 'conduct' oneself during a life drawing
session? What are the unspoken rules/etiquette?
A: One behaves in a manner that would ordinarily be deemed to be acceptable to people attending the session as artists. This can vary according to the nature of the session, but any attending artists should be made aware of any changes before the session begins.

Q: Did you enjoy/not enjoy the experience? Explain
A: I found the experience very enjoyable, because of both the location and those attending, many of whom I have modeled for before.

What is private?

http://n-2.org.uk/nuff/pages/begin/legal1.htm


All our events were followed by questionnaires for the artists. After the beach hut session, one artist in response to the question
Q: Can a life drawing session be said to be private/public? Said,
A: Because of society “rules” it can never be public but what is private?


So what is private? Here’s what the American Heritage Dictionary says:

pri•vate (prī'vĭt)
adj.
1.
a. Secluded from the sight, presence, or intrusion of others: a private hideaway.
b. Designed or intended for one's exclusive use: a private room.
2.
a. Of or confined to the individual; personal: a private joke; private opinions.
b. Undertaken on an individual basis: private studies; private research.
c. Of, relating to, or receiving special hospital services and privileges: a private patient.
3. Not available for public use, control, or participation: a private club; a private party.
4.
a. Belonging to a particular person or persons, as opposed to the public or the government: private property.
b. Of, relating to, or derived from nongovernment sources: private funding.
c. Conducted and supported primarily by individuals or groups not affiliated with governmental agencies or corporations: a private college; a private sanatorium.
d. Enrolled in or attending a private school: a private student.
5. Not holding an official or public position: a private citizen.
6.
a. Not for public knowledge or disclosure; secret: private papers; a private communication.
b. Not appropriate for use or display in public; intimate: private behavior; a private tragedy.
c. Placing a high value on personal privacy: a private person.

So when does private become public. It might be helpful to add a definition of public:
pub•lic (pŭb'lĭk)
adj.
1. Of, concerning, or affecting the community or the people: the public good.
2. Maintained for or used by the people or community: a public park.
3. Capitalized in shares of stock that can be traded on the open market: a public company.
4. Participated in or attended by the people or community: “Opinions are formed in a process of open discussion and public debate” (Hannah Arendt).
5. Connected with or acting on behalf of the people, community, or government: public office.
6. Enrolled in or attending a public school: transit passes for public students.
7. Open to the knowledge or judgment of all: a public scandal.
n.
1. The community or the people as a whole.
2. A group of people sharing a common interest: the reading public.
3. Admirers or followers, especially of a famous person. See Usage Note at collective noun.

From these definitions, it seems to me that the line between public and private is obscure. Private certainly pertains to the individual and public addresses the community at large but still were left with the question what is private? I would suggest that in relations to the ‘Naked Shed’ events, private regards invitation only by one or all of the people involved so really that could include word of mouth. And public suggests being open to the public at large. In that sense were any of our events public?

1 The First Session..........in a Beach Hut!

As mentioned previously on this blog, we were undertaking four life drawing sessions, three in Devon, and one in Hebden Bridge. The idea of these sessions was to investigate space within a life drawing context. Although we had no specific questions before the sessions took place, we decided to respond to the sessions by asking male/female questions of each other in response to how we felt after the drawing sessions. These questions, and the subsequent answers, are as follows;

Questions from male model to female model;

Q: Did you feel more intimate/close/any different to any other modelling session?
A: At first the most noticeable difference was my awareness of the outside world. Although I've noticed the ‘outside’ in other sessions, I have been closed in, in a substantial building and therfore unable to hear outide noises. In this session I was aware of children and parents chatting and could feel a sea breeze. I wonder what effect that had on my modelling? I think I was less adventurous due to confined space and the artist being so close.


Q: Did you feel a need to talk?
A: At first I did, to try and get the artist to answer questions specifically about this project. But then, I slowly relaxed into my ‘usual’ modelling state which is often one of quiet, and a slightly meditative feel.

Q: Did you feel comfortable?
A: After the initial moments – yes. Getting undressed in the shed with the artist there was a bit weird. I noticed the artist clear his throat suggesting he was a little nervous, which he later said he was. Anyway, that made me feel nervous too and started to raise questions such as, ‘Is it ok to be this close to an artist?’ Am I putting him in an awkward position? I believe I was because I didn’t agree with him first that it would be ok to get undressed in the hut. I instigated it. I had the balance of power.
Children - As already mentioned, I was aware of children outside. The only thing between my nakedness and them was a piece of white muslin. Although I beleive nakedness in itself is very innocen, when we're naked in a public place all sorts of other questions arise. Might I be exposing myself? Am I being indecent. As a result I noticed I was very careful about the way I moved the curtain to let artists in and out.

Q: Did you feel the artist was comfortable, and if not, did it affect your attitude?
A: At first I was acutely aware that the artist was nervous. I didn’t feel particularly nervous but did feel slightly awkward. ‘Should this be happening?’ ‘Am I being perverse?’

Q: Did you feel vulnerable?
A: I felt vulnerable in that I was naked but from that vulnerability came a sense of freedom and personal power so interestingly my vulnerability lead to my power.

Q: Do you feel age has a bearing on a feeling of vulnerability?
A: I don’t know.

Q: Did knowing the artist, or not, make any difference to the way you behaved?
A: I think it probably did. Had I known the artist, I would mostlikely have felt the same, but there would have been more laughter at the absurdity of it all.

Q: Did you feel the session enhanced or detracted from the artists work?
A: I’m not sure. I certainly observed the first artist make more blobs on the page rather than an observed drawing and I think this came directly from his own nervousness.

Q: Did having a male artist make you feel any different to having a female one?
A: Yes, I think if I'm honest sometimes issues of sex and nudity arise when any man draws me one on one. I think the same thing would happen if a lesbian was drawing me one on one. This would be an interesting exploration. Questions like – Do they fancy me? Are they attracted to me? etc. However, I noticed one artist in a later session said I had a wonderful face to draw and she was female and I felt that same ‘lift of spirit’ feeling. So in that I think I like to be appreciated.

Q: Did getting undressed in the hut make you feel comfortable or not?
A: No I felt awkward because I hadn’t discussed it with the artist so in that sense I felt like I exerted my will over his. In many ways I feel more awkward answering these questions than I did modelling in case I shine a light on something I’m not comfortable with.

Questions from female model to male model;

Q: How did modelling in a beach hut differ from modelling in a “normal” situation?
A: As I was in control, i.e. running the event, it made no difference

Q: How would it have differed if the door had been shut?
A: If there had been other people outside, I don’t think it would have made any difference. If there were no other people outside, then the situation would have been interesting

Q: Were you conscious of people outside? If so did that affect the experience?
A: Yes, this then made the experience like any other.

Q: Did you feel closer to the artist or further away, both in proximity and relationship?
A: Neither

Q: Were you aware that the artists felt any different – to usual life drawing settings?
A: Not really.

Q: Did you feel powerful or powerless as the model?
A: More powerful, as there was no tutor.

Q: Has this raised any questions about experimental life drawing – if so, what?
A: As the leader of a life drawing session, an artist will tend to accept the rules as laid down, or hinted at. This then allows questions to be asked in an experimental context.

Q: Do you think the gender of artist/model affected the experience – if so how?
A: No.

Q: Was it a comfortable/uncomfortable experience?
A: Very comfortable.

Q: Were you aware of any issues of voyeurism – if so what?
A: No.

Q: Did the shed directly affect your experience – i.e. being a wooden hut?
A: By the time the event happened the idea of a shed was so well established that any affects, had there been any, would have been accepted as normal.

Q: Were you aware of the beach outside – if so did it affect anything?
A: Yes, very. It was very soothing.

Q: What could the smallest/largest life drawing venue be?
A: The limits would only be the room and vision to be able to see/move.

Q: If the beach hut was lifted up by a crane while the modelling was taking place, would that affect you?
A: Doubtful.

Q: What further questions has the beach hut event raised?
A: How would it work if the model could not see the artist?

Q: What would you like to explore further?
A: Whether body decoration would be acceptable, and/or encourage voyeurism.

Q: Do you think limiting the space affects the model in any way?
A: No.

Q: How would you do the process, if you had to repeat it?
A: Ensure the model was not known to the artist, and visa versa.

Q: What possibilities arise for modelling in the future – directly related to this experience?
A: Any further expansion of the concept of shed drawing would need to be sufficiently different to instil interest a second time around.

Q: Did you feel you were confined/freer/aware/unaware in the situation?
A: No different.

Naked in private in public.....

This shed is public, very public.
But inside it's private. Very Private.
Inside this shed there are rules, whose rules?
Is it easier to obey the rules in public?
Are there different rules in private?
Is intimate life-drawing permissible/allowed?


Does the balance of power shift with nakedness?
Who's vulnerable now!

Positive and Negative.........

It seems having a naked shed is a problem!!

Quote "I did forward your e-mail to my contact list and have been off line since..AOL decided I was a security risk and shut me down..Also managed to charge me for an hour of tech support as they didn't realise what they had done and lost my filing cabinet for good measure...Our computer engineer has spent all day retrieving my mail..Must have been the word naked....
Apparently there is no comeback due to small print...
Great idea and good venues"

The Naked Shed sends it's apologies for any inconvenience....

Naked Shed Spin off. How would the public at large respond to a naked shed?

How can a naked shed be represented? How would the public at large respond?

These questions arose out of a want to display the artists work following the roundhouse shed event. Could the drawings be displayed on the outside of a shed that would then displayed in a public park? How could the public at large engage with our project? Would permission be granted?

The naked shed spoke to the local area parks manager to suggest the idea for a temporary sculpture. After initial amusement at the prospect followed by concerns that a child might get shut in, the following e-mails between Naked Shed and Parks Manager show how the conversation unfolded.



Naked Shed
Following our phone call yesterday, I've attatched an image of how the shed might look. There will be a gap where the window is and instead of battoning down the door, it may be better to take it off completely. The images won't be as detailed as these ones, but this gives you an idea.
The preferred siting will be to the right of the new path (approaching from train station).

The dates will be from 20th -25th May

Thanks very much,

Parks Manager
After discussions with my manager we feel it would not be appropriate to display
this in a family park.

Sorry

If you do anything else in the future which you would like us to consider then
please get in touch.

Naked Shed
Thought you might say that. It reminds me a little of Roger Burnett's nude statues for Calderdale Hospitals. However, although at first, there was a great deal of controversy, latterly following public support, hospital chiefs have decided to accept the statues after all. So my question is simply this: If nude statues can be commissioned and displayed for Calderdale Hospitals, why can't figure drawings be painted onto a shed and exhibited in a park? After all, children frequent both places.

Thanks for your time and kind consideration,

Parks Manager
I've copied my manager in on this so that he is aware of your comments.

Why do organisations get upset about nudity? When is not ok for art to be naked? After all several cities have a nude statue. Italy is filled with naked sculptors. Are those thought of as crass exhibitionsm or celebrated culture?
In the case of sculptor Roger Burnett, according to the Halifax Courier, "A row has blown up after Calderdale and Kirklees NHS Trust suspended his £80,000 commission...saying the classical sculptures were "not appropriate."" But then, "after Courier readers supported the statues through a poll and 250 people viewed them at Mr Burnett's studio, hospital chiefs had a change of heart" and now "The trust is continuing to work with the sculptor to explore suitable locations." (Extracts taken from Halifax Courier)
Why is it perfectably acceptable to have an old naked statue but not a new one? Does this worry about nudity simply arise because people are just wanting to cover their backs? Are people really shocked about nudity? Do people think their children will be damaged for life if they see a nude image? Are children bothered by nudity? What are the real issues here?

...and the press are interested as well...

It appears our project is gaining notoriety. An image of our project may well appear in the national press.......our naked shed is becoming famous!

Big Brother's watching.....

It appears not all are happy with our intentions, this e-mail appeared in our inbox:

"I have been forwarded a copy of your document entitled The Naked Shed and
note that you have detailed the use of a beach hut at Goodrington Beach for
your project/event".

"Following our telephone conversation this morning I would be grateful if you
would email me confirmation that my concerns about school children and any
other persons using the public areas at Goodrington Beach will be addressed".

Regards,

xxxxxxxxx

We realise that some people can be petty and sue for anything, but when has getting undressed in a beach hut caused concern? And what's more I feel it isn't the children that's the problem......

Most life drawing takes place in a white cube. Sometimes cluttered, and sometimes off-white, but never the less, a cube substitute. A room set aside for life drawing.

How small can that room get?
How many artists make a class?
How much “space” does a model need?
Does a life class need to be private?
Define private

Can a life model have their own "space"?

Can the whole person be viewed visually?

Naked Shed Cake

Let's bake a cake and call it 'Naked Shed'. Can life drawing in sheds be a comfortable, nourishing experience?
This 'Naked Shed' event will take place at the 'Roundhouse', Hebden Bridge on May 18th.

The first 3 sessions for the Naked Shed are;

Tuesday 9th May; Beach Hut at Goodrington Beach, Paignton.
Wednesday 10th May; a selection of huts and greenhouses; the home of Peter and Vera Stride, “Westwards”, Hunter Tor Road, Paignton.
Friday 12th May; the Shed, Behind the Gallery, Dartington College, Dartington.

Quentin Crisp - Life Model

Quentin Crisp, actor and author is perhaps, along with Sean Connery one of the most famous life models of the 20th Century. Click on the link to read a number of memories such as these two mentioned below.

"He loved the human shape, his and that of his lovers’, and wanted to share this passion with the students of the nude figure. In every one of his portraits, he is uniquely himself, aesthetically charming and potent in a subtly androgynous way that defies categorization."

"He was our life-model one morning and seeing him posed, seated nonchalantly on the raised platform surrounded by easels, was an amazing experience. The flaming red hair, the blue eye shadow, and the long, painted fingernails were totally overwhelming. I had never met anyone like that before. And his quiet calmness and stillness were remarkable."

Why pose nude?

Why become a life model? After all standing in a room naked while everyone else is clothed and looking at you could be seen as quite a strange thing to do. Does it come from a simple love of art and a desire to be part of that art? Is it because the work's often cash in hand and relatively well paid? Do models feel that they themselves are artists and part of the creative process? Or is it something to do with exhibitionism, being seen or noticed? Perhaps some models are judged fat or ugly in everyday life and modelling gives them a chance to be accepted? Click on the above link for more info.

Why paint nudes?

This painting by Lucien Freud, 82, depicts a a life size and pregnant Kate Moss. But why does he choose to paint the naked form? In an article from 'Fairfax Digital' he says,

"I can see more: see the forms repeating right through the body and often in the head as well."

"One of the most exciting things is seeing through the skin, to the blood and veins and markings."

In an article from the telegraph, the author notes,

"Moss was an unexpected choice of subject, because he has often said that the last thing he wants is a professional model. He wants to paint a real person, not a practised holder of poses. And there can scarcely be a more practised and professional model in the world than Kate Moss"

In another interview, Freud said he painted Moss merely as an animal rather than as an icon of beauty."

So Freud wants to paint the real form, nudity revealed rather than covering up the blemishes with a makeup brush. That is why Kate Moss provides an intersting antithesis from the world of supermodel perfection to the animalistic bodily representations that derive from Freud's palette. I wonder how much space Freud requires? He is known to scrutinise his models. Does he like to get as close as possible? Would he like to paint in a shed?

John Berger

“Nakedness reveals itself. Nudity is placed on display. The nude is condemned to never being naked. Nudity is a form of dress.”

 John Berger quotes (English Painter, b.1926)

Why sheds? Relating sheds to my own practice

Questions are all important in my life. Questioning and analysis enables me to identify, to know, to understand. Current questions are, 'What's my relationship to nature? Am I nature? Am I natural? Does my own nakedness bring me closer to finding out? What framework can I build around myself in order to know? Where are my walls?
I'll build a shed around myself, something to push against, something that's not me that will help me draw comparisons, but something that expresses me so that I can be seen? Will this help? Over the next 2 months, we're about find out...

Antoine de Saint-Exupery

“Perfection is finally attained not when there is no longer anything to add but when there is no longer anything to take away, when a body has been stripped down to its nakedness”

Our Initial Proposal...........

“The Naked Shed”

By Emma Leeming and Jeremy Holloway

Proposal:

A Basic Outline:

The 'Naked Shed' is a collaboration between the two persons named above. It has arisen out of a wish to investigate the connection between the verb, shed and the noun; shedding in a shed. Having previously investigated the positioning of nakedness within a life drawing context, and its effect on both artist and model when boundaries and conventions are ignored or broken, this project, which is a collaboration between the two persons mentioned above, will investigate how space affects, transforms, inhibits or enhances a life drawing situation. As part of this project we will investigate;

· The effect of working within a shed, and the responses and affects that intimacy through lack of space have on both model and artist
· The effect of working in a beach hut, thereby maintaining the context of a life drawing area, but in a situation, i.e. in a confined space in a public environment
· The effect on an artist if they too were observed while observing
· The effect of drawing through a small aperture, i.e. a peephole or curtains
· The effect of working in a 1 – 1 situation of model and artist
· The effects of working as either a male or female model, or working together in any of the above environs

The previous workshop help in 2004, which was also a collaboration, but this time between Jeremy Holloway and Nina Cane, was successful for several reasons;

The sessions were informal, relaxed, and model-led
The male/female relationship was such that we had only met once before, thus compounding the trust we had for each other, and therefore between the models and the artists
All exercises that were considered were experimental and spontaneous, thus providing movements and situations not normally encountered within a life drawing context
Because the sessions were model-led, the responsibility was on us to dictate the direction the sessions followed, and to make the sessions work

There are no starting questions as such, only the occasional “what if………”. The process will be an organic, evolutionary one. Because of this no specific outcomes have been considered. The module will, however, give us the chance to experiment, observe, and experience situations alien to most life drawing classes. As the two us are at opposite ends of the country, and of different genders, it is anticipated that there will be differences in our both responses, and those of the artists involved. The way these responses will be recorded are explained below.

We know of no other project similar to this, either being implemented or having been documented, although Nina Cane of Cast Off Drama in Leeds has experimented with role-play within a life drawing context, and has an ongoing agenda relating to life drawing.

A unique selling point (USP) for this project is its informality. As with life drawing itself, there are no ground rules as such. There are conventions and boundaries, but they are unwritten and presumed. All ideas are possible, which means the project can be either a formal response to given situations, or an informal matrix of actions brought about by responses by either model or artist.

Documentation:

This will be by oral/video/written response to the situation we are investigating. A blog 'thenakedshed.blogspot.com' to question and describe the process might be the best form of documentation. This blog has already been set up, and it is anticipated that dialogue between models/artists/interested parties will present ongoing documentation/evaluation.

Evaluation:

The project will be evaluated according to its initial aim, which is to;

“Investigate how limited space affects, transforms, inhibits or enhances a life drawing situation with particular reference to the context of life drawing in sheds”

Individual situations are listed above, but a broad set of objectives for the project are;

Investigate and question boundaries of limited space and gender within life modelling/drawing contexts
Analyse and question model and artist responses to given contextualisation
Consider further investigations as a result of previous responses
Try alternative approaches as a result of previous responses


The responses will not in themselves define success or otherwise of the project. The act of establishing, and consequently investigating, a question relating to the contextualising of life drawing will form, and therefore act, as the principal reason for the project.