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One of many studies after Old Master drawings and paintings done since the 1970s, usually in the evenings, when the light is not sufficient for colour work. I use drawing as a way of understanding how something is constructed, whether a part of nature or another artist's work. Rather than 'copies' these drawings are studies/interpretations looking into the structure, shapes and forms of things. Individual pencil strokes can trace the outlines of… things or the internal structure/sculptural form or the surfaces of things or their movement and vitality... This detail from Raphael's fresco "The Fire at Borgo" in the Vatican was about keeping the tension going from first point of contact between pencil and paper, round the figure and upwards to the outstretched hand, then down again the other side without revision - a kind of linear tightrope, capturing all the internal twists and turns of the figure.
Kenneth Hay is an accomplished visual artist working across painting, photography, drawing, printmaking, sculpture and digital media, with a richly academic and international background. Ex-Head of Fine Art at the University of Leeds UK and Professor of Aesthetics, Brno, he trained in Leeds, The Accademia in Florence and the University of Wales. As a writer, he publishes widely on art and aesthetics. With Seetha A, he formed Moorland Productions creative collaboration and together they produce joint work, projects and exhibitions. As artists, their work is grounded in figurative traditions but fluidly traverses abstraction, conceptual series, and diverse historical and cultural styles, choosing each medium and visual language to suit specific themes. Their artworks are layered with intellectual rigour and formal beauty, conveying a thoughtful dialectic between content and form, and evoking both curiosity and deep emotional resonance in viewers willing to engage with their complexity.
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