AN UNDERSTANDING OF FORM – FIGURATIVE and ABSTRACT SCULPTURE (3 days)  

Practical exercises used at the former Frink School of Sculpture (from training at The Royal Academy and Royal College of Art and partially devised by a recipient of the Prix de Rome for Sculpture) will consider the qualities of Form - and conveying Mass - through the motivations and sensibilities of different sculptors who observe their work in different ways. The small works produced will act as reminders of the need for “continually looking”. Good sculpture may happen intuitively, but good sculptors have the sensitivity to use certain considerations to help rigorously assess their work.

The current trend is for sculpture to be concerned primarily with the transient, clever, shocking, topical or political so that is it perhaps best described as three-dimensional conceptual design. The earlier tradition concerned with universally recognised formal qualities has largely fallen from favour. Many of the techniques, sculptural devices and considerations are no longer taught in formal arts education and our capacity to discriminate and understand the formal qualities which underpin sculpture will diminish without them.

Visits to Goodwood and Chichester Cathedral will look at both contemporary British Sculpture and the ‘formal’ tradition used by people like Frink, Dobson and Moore; some of whose instruction we will explore.    

AIMS OF COURSE
To broaden our observation and sensibilities through practical exercises to highlight the sculptural qualities of mass and form
To encourage debate between the group in response to the above, in light of our own interest and with reference to the experiences of two visits to see various diverse sculpture
To bring about the possibility of group/network of ‘practising’ sculptors who may be useful to each other’s exploration after the course  

WHAT STUDENTS SHOULD ACHIEVE
An awareness of some considerations for sculptural form and conveyance of mass
Improved observation skills and a recognition of the factors which affect how we use our eyes effectively
Some sketch/scribble work “drawing for sculpture” from everyday life
Experience of working in the round
Experience of working with clay, wax with basic armatures; polystyrene
Discussion of use of other materials such as plaster, cement stone and wood
Support for those wishing to work further in this area 

MATERIALS AND TECHNIQUES COVERED:
Basic use and care of clay and wax
Modelling techniques
Simple carving in soft materials
Practical techniques for making armatures
Basic techniques for preparation of works for the kiln and subsequent kiln firing

TEACHING METHOD:
Individuals work to the short exercises in a formal professional environment
Demonstration, discussion and analysis, using students’ works for reference, will intersperse these periods of quiet concentration
Individuals will be encouraged to refer to others’ work
Discussion group informality, with participants being able to take notes for future reference throughout
Flexible to groups needs  

EVENING SESSIONS
First practical exercise/informal discussion of course programme. On second and third evenings, participants will be offered the choice of rest, continuing their own work or discussion with slides linking broadly to each day’s work.

GENERAL TIMETABLE
Day 1 - Morning practical exercises; after lunch visit to various Chichester Cathedral sculptures, some of which influenced Eric Gill
Day 2 - Morning practical exercises; afternoon Visit to Cass Foundation’s Sculpture at Goodwood
Day 3 - continued exercises; checklist/action plan for after the course.

Practical exercises might include:
exercise on light and shade/ smoothness versus completeness; clay  
exercise on relationship and balance of forms; clay
exercise on essence and implied movement; wax
exercise on composition and flow - perimeter, line and volumes; polystyrene
discussion on ‘integrity of materials’
discussion on 'mass'
exercise on monumentality - maquettes, Photoshop and consideration of photographs/slides of other work
group development of a list of qualities found in 'enduring' sculpture

COURSE FEEDBACK
"This was a terrific course which has really furthered my understanding of 3D work. The two field trips were v. well planned and enjoyable and really contributed to later parts of the course. Also, the vocabulary of sculpture was particularly well dealt with - cleared up a lot of problems I'd had in talking about work.." (2009)