Jojo’s first sitting

Tuesday 3rd June 2008

The Plymouth playwright Jojo arrived for his first portrait sitting, it was also a chance for him to provide me with an update of his new play ‘The Man in a Red Scarf’.

Colour lighting

I have prepared three portrait studies prior to his arrival; he preferred the three quarter portrait over the profile. So I worked up the former drawing. I preferred the colour study, and I would like to have worked up this drawing, but Jojo felt the colours would not be represented in the play. Perhaps I can work with colour lighting during rehearsals.

First thoughts about Jojo

He’s quite a jolly fellow, not only in his physical appearance but also in mood and mannerisms where he fidgets incessantly which makes him very difficult to study. He also likes to banter and appears quite at ease discussing a variety of subjects. What I haven’t caught in this drawing, is Jojo’s fun loving nature. He has quite a sense of humour; and I found him even more animated when he grins.

I want my own identity

I am now the official artist’s in residence. Jojo has informed me of his last article Preparing Robert’s play an art in itself in The Herald (Plymouth) May 30th 2008, p7., were he has listed his present technical team: Jennifer Hallas Redick (set designer), Paul Lloyd (composer), my good self, and Louise Courtenell (trainer to the actor playing Robert). I’m finding the prospect quite exhilarating, but daunting as well. I suppose it’s my insecurity, I don’t want the public to think of me as son of Robert; I want my own identity. Jojo agreed upon my insistence that I would only be part of the project if I could paint the images as I wanted.

My needs for this project

I sense this is a wonderful opportunity, but before I start I need to be clear in my mind what I want to achieve from the experience. The two parts of this project are: firstly, to complete nine paintings of the cast before September. This first part completes Jojo’s request. Secondly, I would like to enhance my own interests, these include: a) to record and create a series of paintings which illustrate the interrelationship of human shapes and form upon the stage environment, b) access to explore the effects of stage lighting upon these human shapes and forms, c) to paint a series of paintings of the cast in costume.