There is a
tradition of sculpture deriving from the enlargement of a small maquette for
which a structural armature is made to build the work upon. In many cases, the
vital life spark of the original maquette may be lost in the final work. The use
of structural elements, which become the work, allows the armature to be
discarded, allowing the organic development of the deformable clay matrix into
the unknown. Results can be both interesting and exciting. This technique may
help those interested in figurative work to explore the abstract. Working in a
purely abstract way, figurative or other compositions may emerge.
To introduce a
process of clay sculpture building that eliminates the armature (and thus
pre-conceived ideas) and frees creativity.
To
improve awareness of sculptural form and mass through working from the
subconscious.
To improve awareness of other sculptural qualities through sensitive working
with clay in the round.
To introduce practical discussion around the processes and/or aesthetics
involved with drying, firing, sealing and patinating clay works.
To contrast normal sculpture pre-requisites of planning/knowledge/ability with
those of sensitivity, observation, determination and the unknown.
To provide a framework for participants to continue with the technique (perhaps
towards larger work – up to 4 or 5 feet tall) after the course or on future
courses, without the need for complex or expensive equipment.
WHAT STUDENTS SHOULD ACHIEVE
Completion of one or two sculptures ready for kiln firing
Experience of a little-known clay building technique
A basic awareness of kiln procedures, tools and clay working, in further developing this technique for own use
A greater awareness of mass and some of the factors which improve sculptural form
Improved observation skills
Practical advice for joining, sealing and patinating works after firing
Support network for those wishing to work further in this area
Use and care of clay for this technique
Use of equipment in constructing elements and sculpture
Ways of looking at/evaluating the developing work
Retaining life in the surface of the work
Preparing work ready for firing
A number of group activities encouraging thought about sculptural mass and observation of the figure
TEACHING METHOD
After group work constructing elements, students will work individually to produce sculptures. The technique will hopefully be interpreted in different
ways which will broaden the experience of the group.
Group demonstration and discussion, sometimes using students’ works for reference, will intersperse these periods of quieter concentration working individually
Group participation sessions to improve awareness of sculptural issues discussed.
Individuals will be encouraged to refer to others’ work as a technique for greater personal objectivity
Discussion group informality, with participants being able to take notes for future reference throughout
Day 2 - sculpture building, clay element making, group activity and discussion
Day 3 - sculpture building interspersed with clay element making, group activity and discussion
Day 4 – Final sculpture building. Works will be removed from their frameworks and prepared for firing. Discussion around basic kiln requirements, sealing and patinating work. Final
slideshow introducing the lifework of the sculptor who developed this technique, and an opportunity to visit the collection in the future.
STUDENT PREPARATION FOR COURSE
Come with an open mind, clothing that you don’t mind sitting on the floor occasionally, getting clay on and that is not
too restrictive for movement while working.
Students are encouraged not to search for information on the technique prior to attending as ‘knowledge’ will narrow the sculptural possibilities during the course. You do not need to be
able to draw or sculpt.
For details of West Dean dates and prices - or to book online - please click on the logo.
