Sport Moves

Why Rugby? It was one of these sudden ideas, caused by the need for a balance.

By drawing, I have studied a variety of dance forms to appreciate their differences and drawing sport has certainly given me a new perspective on sport, dance and human movement in general.

Many artists start out to measure their skills on reality, a challenge which is not for the faint-hearted! But soon we notice that the process of drawing changes the way we see the subject, and it’s irresistible to follow the new path and go explore it. For example, a dancer or rugby player is no longer another person doing something, but a body that I so closely relate to, I feel doing the move myself.

Still, it’s been a surprise to learn that I can relate to the moves of a rugby player as easily as to a graceful dancer. But since I’m not a very skillful dancer, this comparison is not as far-fetched as it seems. The key to overcome the gap between them and me has been to remove the details of individuality and to reveal the human body as a dynamic form. Generic? No, but an invitation to get close, into the action ourselves, some viewers and me.

The future concept for my rugby work will evolve as I’m drawing, and daily I discover interesting facts:

• The ball is part of the body, because a sharp turn is done with only one arm balancing the motion of the legs while the other has to clutch the ball.

• A player's gesture is as much motivated by the threatening presence of other players than by his own intent.

• When players touch, they become one form, no body part is independent, and a tension is running through the whole complex form right to the fingertips and toes of each player.

The same as in dance? No! Rugby and tennis are focused on a practical purpose, the aim of each move is straight-forward, and with a some practice, I can predict the next move. This is not to say that it is inferior in skill and strategy to dance, but it’s truly a different ballgame. Yet, I’ve come to realize that there is more directness in the moves of dancers than I might have recognized so far, which is very inspiring!

My brother's comments, that I don't portray the real rugby, the violence, sweat and drama in agressive faces, has inspired me to take my own perspective more seriously - and to have some fun. Hence the pink rugby player, who is losing none of his dynamic and focused body language!

Drawing with the other hand

If these studies look a little rough, it's because I've been drawing with the left hand. After many years of drawing and painting with my right arm, my back was yelling at me. Rather than to stop doing studies, I took the marker into the other hand. It takes a lot of discipline to overcome frustration and even more patience to get the pen where I want it to go, but it's also a very interesting process.

Of course I don't have to learn to draw from scratch, I know what I want to draw, but the pen won't go there directly, instead it does all sorts of uncalled-for detours. The shading which has to be perpendicular to a form or plane, often poses a physical challenge to work the arm without standing on my head.

But my imagination of anatomy in space and perspective is crisp and clear - better than ever. I can visualise the whole figure better, maybe just because I have to go slower? Or because there are no habits to channel my imagination?

The emotional-spatial and the rational-linear can be expressed with either hand, and I am sure that it is only a matter of time until my left hand has caught up with the right for coordination and skill. Until then, my body and brain are working hard to acquire the necessary fitness. So far, it is not relaxing, the whole body is actively engaged to hold that marker, strenuously pulling and pushing it into a somewhat acceptable direction and place. Lots of stretching is required to loosen up again, but with time I will gain a new level of balance, for body and mind.