人體模特兒生涯即將踏入第四年了。一開始現場混合線上，然後純線上，再純現場；視乎主辦單位，三種模式我都接洽。上回淺談了畫家在現場和線上寫生的利弊，這次就從模特兒 — 也就是我 — 的角度看看孰優孰劣吧。
（一）私隱安全
線上當人體模特兒最堪憂的無疑是私隱安全。說是主持只會在模特兒同意的前題下錄影、截圖，並在Zoom的設定上禁止參與者為之；但若有人心懷不軌，技術上主持和模特兒都制止不了。一位居於倫敦的法裔畫家Tony自稱主持每場線上寫生前，都要篩走百多個可疑報名。但不管他們如何盡人事嚴密把關，亦難保萬無一失 — 雖然有一次現場寫生的主持回應：「（現場）錄緊你都唔知啦！」
*** 由於遺禍甚廣，在此嚴正聲明：我做好最壞打算不等於接受惡意或疏忽造成的侵害。不論線上、現場，如發現偷窺、盜錄、外流等猥褻行為，違者必究。
（二）曝光機會
線上模特兒讓更多人看見。自問藝高膽大，氣質獨特，魅力非凡，尤可善用其於短期內大幅提昇曝光機會，讓藝術家們隔著屏幕也感受到模特兒強大的意念、細膩的情緒和旺盛的生命力。模特兒的潛力需要被發掘，藝術家的靈感一樣需要啟發。陰會差，陽會錯，資源會錯配，結構會失衡；身處世界某一隅的才女雅士，肯定本地圈會用得到和用得好你嗎？模特兒等待的伯樂，藝術家期盼的muse也許在千里之外。爭取機會除了自身實力，還須廣泛涉獵。量變會引起質變，我的才華要全世界看見。模特兒還可藉線上寫生，為海外發展鋪路，當一隻名符其實的千里馬。
我在東京Parts Studio Tokyo的寫生工作坊
硬幣的另一面是來自全球的競爭。當全世界的模特兒都往線上跑，我的競爭對手便從幾十人瞬間增至幾千人。跟我爭一席位的包括世界頂尖模特兒，他們多數來自美、英、意、法、阿根廷和哥倫比亞。加上當代藝術仍然是歐美主導，人像寫生大量採納希臘神語、聖經等西方文學經典題材；這是亞裔跨不過的門檻，也是我作為一位東亞模特兒不斷思考自己優勢的動力。
除夕與來自德國的Haley及阿根廷的Tina一起當40位藝術家的線上模特兒，工作坊歷時6小時。
（三）建立Portfolio
模特兒跟畫家、設計師、導演等藝術創造者一樣需要portfolio證明實力和經驗。如前文所說，藝術圈是個狹窄的圈子。在單一地域的畫家和模特兒也就那幾十張熟口熟面的臉，穩定且頻密參與現場寫生的也許才十來位畫家。曾經年近歲晚在台中及旅行旺季的香港，兩場分別都只來三位。就算full house，十多位裏超過一半是學生和初哥，進步空間頗大。模特兒難以把他們的畫作納入portfolio。如果僅靠現場寫生，須蠻長日子累積優秀作品。
參與線上寫生的畫家分佈於世界每個角落，作品雖然莨莠不齊，但量大就比較容易遇到功力深厚的畫家。而且東西方畫風大相徑庭，畫同一個模特兒，東方偏清秀纖弱，西方偏圓潤健碩。模特兒不難在短時間內集百家之大成，建立質高量豐的portfolio。
蘇格蘭藝術家Deryck Henley主持除夕馬拉松線上寫生，267位畫家裏其中6位的作品。
（四）體驗深度
上文提到畫家們享受真實生活中笑語、輕聲、驚喜等細膩的片刻，模特兒也一樣。現場的親密感和真實感是線上無法媲美的。模特兒被一群專注的畫家包圍，迅速進入狀態。靜止不動時尤其留意到他們堅定的眼神、深鎖的眉頭、抖動的嘴角、躁動的手腕、挫敗的歎息，聽到下筆、刨芯、翻紙、搓壓色塊，聞到膠彩、水墨、淘泥 — 有時還有我不喜歡的古龍水。在Parts Studio Tokyo當模特兒時，面前的一位畫家還跟我對視長達十秒（如果他是一隻貓，時間大概會double，而且我會先眨眼）。在即時的感觀衝擊和專注的氛圍下，大家一齊踏進了精神時光屋⋯⋯ 中場休息時親眼看見畫作，模特兒更可馬上檢討自己的美感素養、表演技能、即興編排和體能等專業技能。
線上寫生缺少親密感，所獲得的體驗也就比較淺薄。曾經有兩場約十位畫家出席的線上寫生，有人全程唔出聲，唔開cam；我不禁狐疑 Did you really draw me？Is this an artist？畫完了大部分人會在鏡頭前展示成果，但下線後沒在任何平台分享。除了有糧出，整件事像沒發生過⋯⋯
台中水筆仔畫室現場寫生
「(Life) It’s all about memory.」不論安排是否妥善，現場深刻體驗的餘韻往往在模特兒腦海繚繞數週。珍貴的回憶值得花費，何況是收費。環境對人的影響巨大，投入當下的無干擾職業場境對模特兒的自我身份建構有即時且深遠的影響。而線上寫生最明顯的好處是發展機遇，至今我受邀的所有委託項目和一對一線上寫生，及購買我的藝術照的九成買家都來自Zoom上畫過我的海外畫家。跟上文總結的一樣：「睇你要咩啦～」線上線下並無衝突，兩者我都接。至於甚麼不接，有機會再談。
Estella Chan
港、台兩邊走的人體模特兒
香港大學美術系學士（已改名「藝術系」）
英國皇家舞蹈教師協會認可拉丁舞導師
個人Instagram
模特Instagram
OnlyFans
Gumroad
Patreon
Payhip
My career as a life model is hitting its 4th anniversary soon. Flashing back to March 2022, I started modelling with a hybrid of in-person and online sessions, then online-only followed by in-person-only. Depending on the organiser, I work in all three modes. In the last passage, I briefly discussed the pros and cons of drawing on-site and online as an artist. This time, I'll look at it from the perspective of a model—that is, me.
(I) Privacy and Security
The biggest concern about modelling online is privacy and security. The hosts say they would only record videos and screenshots with the consent of the model, and prohibit participants from doing so via Zoom's settings. Some of them even claim to have to screen out more than 100 suspicious registrations before every online session. But no matter how the hosts do their best, it's rarely possible to guarantee camcording-free — although an in-person host once responded to me, “You won’t even know even if I’m recording (on-site).”
***Due to severe consequences, I hereby warn: Preparing for the worst does not equate to accepting malicious and unintentional harm. Online or offline, any acts of voyeurism, leakage or unauthorised recording are to be prosecuted.
(II) Exposure Opportunities
Online models gain wider exposure. Those with exceptional skills and boldness, unique temperament and extraordinary charm can leverage this to significantly increase their exposure within a short period of time, so that global artists can feel their powerful will, delicate sentiments and rigorous vitality even just through the screen. A talent needs a scout. A model's potential needs to be spotted, just as an artist's inspiration needs to be sparked. Mismatched resources, unbalanced structures, insufficient budget, wrong place and time all lead to desynchronisation. Can a talent working hard at a certain corner ensure to be utilised effectively and properly by their local circle? The scout a model hopes for, the muse an artist awaits, both may be thousands of miles away. Securing opportunities requires not only personal strength but also broad exposure. Quantitative change precipitates qualitative change; my talent deserves all eyes on me. Furthermore, models can also make good use of online modelling to pave the way for overseas development, making themselves a real thousand-mile steed.
The other side of the coin is global competition. With models worldwide moving online, my competitors soared from dozens to thousands. Among those vying for a spot are some of the world's top models who are mostly from the US, UK, Italy, France, Argentina and Colombia. On top of this, contemporary art is still dominated by Europe and America. They heavily adopt themes from Greek mythology, the Bible and other Western literary classics, which is an uncrossable hurdle for Asian models. This situation, thus, drives me to constantly reflect on my strengths as an East Asian.
(III) Portfolio Building
Like artists, designers, and directors, a model needs a portfolio to demonstrate their skills and experience. As mentioned, the art world is a tiny circle. In a single region, there are only a few tens of familiar faces among figure-drawing artists and models, and perhaps only a dozen or so artists consistently and frequently join in-person workshops. One of mine happened in Taichung approaching Chinese New Year and another one in Hong Kong during the travel season. Both only got three artists showed up. Albeit full-housed, more than half are students or beginners with plentiful room for improvement. Models struggle to include their drawings in the portfolio. As a result, it would have taken me a considerable amount of time to accumulate good artworks if I rely solely on in-person workshops.
Artists online are from all over the world. Although the quality of their works varies, the sheer volume makes it easier to encounter those with profound skills. Generally, Eastern and Western drawing styles are vastly different. Using the same model, Eastern styles tend to be delicate and slender while the Western tend to be rounded and robust. A model can hence quickly gather the best from a wide pool to build a high-quality portfolio.
(IV) Depth of Experience
As mentioned in the last passage, artists enjoy the subtle moments of laughter, surprises and soft whispers in real life; and so do models. The realness and intimacy of being there in-person is unmatched online. Surrounded by a group of focused artists, I rapidly get into the zone. Freezed, I can easily notice their determined gazes, furrowed brows, trembling lips, restless wrists and frustrated sighs. I hear the brushstrokes, the sharpening of pencils, the change of the papers and the pressing of paint blocks. I smell the clay, ink, acrylic and sometimes the cologne I dislike. When I modelled at Parts Studio Tokyo, an artist even stared at me for ten seconds (Were he a cat, the time would probably double, and I would blink first). Under the impact of immediate sensory in an intense atmosphere, everyone steps into the ‘hyperbolic time chamber…’ During breaks, seeing the art pieces real allows models to immediately review their expertises like aesthetic sense, performance skills, improvisation and physical fitness.
Online drawing contributes to a rather superficial experience due to the lack of intimacy. There were two online sessions I modelled for about ten artists. Some of them remained completely silent and cameras off. I couldn't help but wonder, “Did you really draw me? Is this an artist?” Most artists showed their artworks on camera, but none were shared on any platform afterwards. Aside from receiving a model fee, the whole thing seemed like it never happened…
“(Life) It’s all about memory.” Whether the arrangement is proper or not, the profound experience on-site often lingers in the models’ minds for weeks. Precious memories are worth the cost, let alone to get paid for it. Environment has a huge impact on people, and being into that moment in the undisturbed professional scene has an immediate and far-reaching impact on the construction of a model’s self-identity. On the other hand, the biggest benefit of online modelling is exposure. So far all my art-project commissioners, one-on-one online session hosts as well as 90% art-photo buyers are overseas artists who have drawn me on Zoom. As summarised in the last passage, “It depends on what you want ~” There is no conflict between online and on-site, I take both. Regarding what not to take, let’s talk about it when time allows.
Estella Chan
Figure Art Model active in Hong Kong and Taiwan
Bachelor of Fine Arts, University of Hong Kong
Certified Latin Teacher, Imperial Society of Teachers of Dancing
