An artist friend said something a little while ago on Instagram which made me stop and think.
I have always been fascinated by how our arms and shoulders silently communicate our thoughts and emotions. Working with clay forces us to deal with the fact that the arms are the most slender feature of the body, and thus pose some serious technical issues
Drawing dancers in their tutus, and the layers and layers of translucent tulle has always been a challenge for me … Trying to sculpt this in clay, … that was a technical challenge I had never been brave enough to attempt.
I have spent a great deal of time pondering the process of attaching a title to a piece. I wrote a post some time ago, bemoaning the title of “Untitled” which people sometimes use, and talking about the significance of a title as it becomes an integral part of the work, giving us a window […]
There is something very ancient, even primal, about working with ceramics and the process of earth and fire. As much as I appreciate the advent of computerized controls on modern electric kilns and the ability to precisely control the firing profile, with the resulting high degree of predictability in the outcome of one’s work, I […]
Some people have asked me about my work process when I sculpt a figure. I took this opportunity to capture a few photos along the way as I was working on a figure sculpture, showing the various steps.
One theme you may notice here is the reclining figure, drawn close to the axis line, with a lot of foreshortening. In the “Drawing from Life” sessions that I have been in (from which many of these drawings come), we are doing mostly around 20 minute sketches of a live model. The room is arranged […]