the PDF of her book - National Aphasia Association

50 Ruth Codier Resch Without Utterance:
voluptuous Renaissance paintings that I usually pass by.
I go out into one of those little London parks where groups of people
lounge in the summertime grass. Inspired by what I have seen in the Tate, I
look at how clothes fall on people’s bodies as they sit in the mild sunshine, at
how the clothes are billowy, how the shadows fall on the fabrics. I make little
sketches, playing with the details, how the draping defines a body. These are
experiments; I haven’t done figure drawing before, but I’m thirsty from the
luscious details my eyes and mind found in the museum.
At home I do quick sketches of people on the subway. Shoes are
wonderfully intimate and unobtrusive to draw. The ones that attract me are
worn and scrubby and tell stories of hard living.
Sometimes I am a little bolder. I draw the draping lines of a ski jacket.
I try to remember later the arc of a woman’s back, a textured, heavy coat
shaping itself over her stooping body in an intimate oval. I look at what
happens to the flowers in a black printed dress as a woman folds her body
down on a park bench.
The seeing is what delights me; I am beginning to partner with my
brain.