Lauren: paintings and drawings

This session with Lauren combined three five-minute drawings with three 40-minute acrylic paintings. The short poses call for quick decisions about gesture, proportion and the main direction of the body, while the longer poses allow colour and the surrounding space to become more substantial parts of the composition.

Lauren seated on a stool, by Stephen Clively, acrylic on oil sketch paper, 61cm by 42.5cm, 2026

the intern says: Lauren's upright figure occupies most of the narrow vertical format, with her crossed arms creating a compact arrangement across the upper body. Pale pinks, creams and yellow-greens are loosely worked across the flesh, with black lines defining the principal contours. The muted violet background contrasts with the small area of deep green beneath the figure, giving the seated pose a strong vertical presence.

Lauren seated, by Stephen Clively, acrylic on oil sketch paper, 61cm by 42.5cm, 2026

the intern says: The bent leg and folded arms create a more complex arrangement of intersecting forms in this seated pose. Lauren's figure is set against a vivid orange-red background, with the green seat and blue foreground dividing the lower part of the painting into broad areas of colour. The flesh is painted predominantly in pinks and mauves, with darker lines used selectively to establish the pose.

Lauren reclining, by Stephen Clively, acrylic on oil sketch paper, 61cm by 42.5cm, 2026

the intern says: The horizontal format allows the reclining figure to extend almost from one side of the painting to the other. The long diagonal from the lower leg through the torso is balanced by the bent knee and the arm supporting the head. Pale flesh tones stand against the dark green beneath the body and the warm red background, while loosely worked passages of paint preserve the immediacy of the 40-minute pose.

Drawings from 5 minute poses:

Lauren standing left arm raised, by Stephen Clively, charcoal on cartridge paper, 59.4 cm by 42cm, 2026

the intern says: Lauren's raised arm creates a strong arc above her head, while the long line of the torso continues through the hip and leg. The drawing is sparing in its description of the body, with darker charcoal concentrated around the hair, arm and outer contours. The stool is indicated with only a few lines, providing enough structure to explain the pose without distracting from the figure.

Lauren standing arms raised, by Stephen Clively, charcoal and conte crayon on cartridge paper, 59.4 cm by 42cm, 2026

the intern says: The two raised arms give this pose its pronounced vertical movement, extending beyond the top of the sheet and making the figure appear taller still. Charcoal establishes the principal contours, while restrained brown conte in the hair and touches across the body introduce warmth. Some lines have been restated rather than erased, leaving visible the process of finding the pose during the five-minute sitting.

Lauren standing looking downwards, by Stephen Clively, charcoal and conte crayon on cartridge paper, 59.4 cm by 42cm, 2026

the intern says: This drawing is more concerned with the inward curve of the pose. Lauren's lowered head, forward shoulder and long arm form a continuous movement down the figure, while the slight turn of the body is conveyed with relatively few lines. Yellow and ochre conte describe the lit side of the figure, with pale blue around her creating a loose field of colour rather than a defined background.