After weeks of thinking, exhibitions, artist talks, online galleries, TED and Youtube videos, reading and rereading my blog/computer library, it happened yesterday evening. Walking back from the kitchen after washing up I picked up clay and tools and set to work. Just like that. And continued till 3.15 a.m.
It’s been two and a half months since I made anything significant, and I’ve made nothing at all since June. Such a good feeling, not to say relief, for this period of reflective inactivity to be over. Such a good feeling to have some idea of the direction my work will take. Of course, I haven’t run it past Dave yet……
I made two maquettes – solid built, based on the double walled bowl. Adapted from two of the ‘tall series’ of my drawings:
Flame (left) was the first. It’s interesting making a hand-sized maquette, as the form naturally takes on the form of the hand gesture (much as Sabine Classen is consciously doing). After a while The body connection continued and I realised I was referencing the rough maquette I made for a figure in February:
Maquette for figure-that-never-was
I’d thought life-drawing wasn’t essential for abstract sculpture, but maybe it is. Is the body the yardstick by which aesthetic perception is measured? I must read about this – TED talks too, no doubt. I’m looking forwards to the figure drawing day I’ve booked for later in the month – I’ll have to look into making it a regular thing.
Curl (right) was the later one. (Incidentally, both were double bowl/large bowl not circular/top slab not a flat plane. These are my conscious subversions of the double walled bowl form.) Initially is had a single inner bowl. Having slept on it I thought it too plain, and added a second this morning, making it intersect with the other and a shallower depth to create more shadows and interest. It would have been improved if the lower one had been the deeper one. I like this effect on James Oughtibridge’s work. I photographed my maquettes with my Mini Oughtibiridge, and I think they measure up quite well (solves the problem of small affordable pieces):
I’ll try crank next time as I rather like the gritty texture of the M.O. James says he photographs his work to show up faults, and I’d have to say he’s right – I can see some areas that need refining. Good tip! And I must must must get some tools for carving holes. It took a ridiculous amount of time to draw and carve the intercepting bowls by eye. And carve them when leather hard, as James does.
To Do List:
- Run this past Dave and amend the Learning Agreement accordingly
- Research aesthetic perception
- Find tools for carving concavities in maquettes
- Try crank and some of the clay samples I already have
- Decide on a regular figure drawing session?
- Try referencing other forms eg body, stones, natural forms
- Photograph work in progress to aid evaluation