Sculpture Studio: March 2016

Thursday, March 24, 2016

Improvisations

My approach to painting is akin to that of a jazz musician. I work around a known theme, more often than not, the nude human form. As with a lover, my paintings are not meant to reveal all their secrets at the first glance. I paint 70% of the picture; the rest is up to you to interpret in whatever way you choose.

Today’s painting of Annabelle was completed in about the time it took Sarah Vaughan to develop similar subtle nuances in her recording of My Funny Valentine.

https://www.youtube.com/watch?v=dntaJEqH9IM

The detail illustrates how lines and washes respond if given freedom

Wednesday, March 23, 2016

Super awesome

My task as an artist is to arouse others, in the hope that they arouse me.

When excitement takes hold, the viewer’s response is usually couched in simple and direct language. I’ve had a conservative businessman confess that he was gob-smacked on first seeing my work. Wow is a frequent exclamation and a confession of love is a close second.

A couple of days ago when I suggested to one of my models the possibility of modelling for a piece of sculpture, her e-mailed response was, OMG that sounds super awesome. Yes, I’d love to do that.

For almost two years I’ve put sculpture on a slow back burner and kept my paintings up front on the fast burner. My water colours are spontaneous whereas a piece of sculpture takes months to come to fruition.

While I ponder over the super awesome possibility of returning to my work as a sculptor, I’ll leave you with a recent painting of Tashani.

Saturday, March 19, 2016

Vagina don’t come cheap

A pitfall that I am anxious to avoid was summed up by the poet Dylan Thomas when he wrote: Somebody’s boring me. I think it’s me.

My concern is not so much boring myself but boring those who view my work. After all, the nude is the nude is the nude, and there’s limit to the ways my models can stand, sit, recline or whatever.

A number of my models are accomplished poets and this evening some will be on stage for my friend Shawna’s poetry extravaganza, Lyrics under the Stars. It was from one of Shawna’s shows a couple of years ago that I take my title. It is Karmarsha’s brilliant poem that gives advice to young ladies and cautions young men. From that you might guess that this evening’s performances will be anything but boring.

If you think that I’m in danger of jumping out of the frying pan and into the fire, I’ll stop right there. But for once I’ll skip painting and illustrate this page with a photograph I took of the frying pan that cooked my daughter’s breakfast omelet a couple of mornings ago.

Saturday, March 12, 2016

Groping towards the light

Most people grope in the dark but my groping is done in the light, with my eyes and mind wide open.

What I am looking for are new ways to suggest the beauty of the nude. My task is made all the more difficult through two self-imposed limitations: first, working large format in watercolour and second, capturing my subject in a matter of minutes. The only way that I can break through to new ground is by covering a lot of ground: hence, painting after painting. The adage holds true: if it was any easier everyone would do it, if it was any more difficult no one would!

The fact that an ever increasing number of followers throughout the world stay with me, year in, year out, at least means that my attempts are not boring them to death.

The paintings below are from yesterday’s sessions, the first in the morning with Tashani, the second in the afternoon with Annabelle.

Wednesday, March 2, 2016

A Revolution in Human Beauty

The latest release from modelsociety.com carries these words by Lisa Everhart

All around the world a revolution is brewing, one born in the heart, carried forward by the longing of the human spirit in search of truth. The models, photographers and artists of Model Society are fueling this revolution of honoring the humanity of all people as intrinsically beautiful. Creative minds help us wake up from fear and prejudice as they compel us to look within and see ourselves in a new light. To the artist who dreams of a more beautiful world, there is no choice but to stand for what is right, good and unalienable.

We invite you to cast aside your fears and prejudices, opening your heart to the miraculous beauty of humanity. Reclaim your experience of human beauty. See yourself as a work of art, and join us in this revolution.

The vision of Model Society heralds a renaissance in the appreciation of the human figure. True to the meaning and spirit of renaissance, it is a re-birth. Centuries ago artists and sculptors paid homage to the beauty of the human form.

Today’s picture is of a relief on the balustrade round the Temple of Victory in Athens. It dates from 408 BC and depicts one of the goddesses momentarily stooping to fasten a loosened sandal. Although sadly mutilated, the figure that is revealed beneath gossamer drapery remains as sensual today as when it was conceived.

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July 22nd 2000

With my family I arrived in England five years ago. The first two years were spent working on the building and applying for Arts Council lottery funding. Alas, the Council considered figurative sculpture elitist and of no interest to the general public.

After three years our savings were spent and in desperation I began doing what I came to England to do: to work as a sculptor. In our impoverished state the odds were against us. A year passed with not a single commission and not a penny of income. Then the tide turned. If two years ago it had been predicted that my studio would today be bursting at the seams with work, I would have dismissed the notion as a complete fallacy.

Sculpture for the City of Leeds

The end result for those of us working in the visual arts is something that is capable of being seen. In the long term the success of a piece of work is, to a large degree, measured by how many people look at it. But in the beginning the work cannot be seen by anyone on the outside. It exists only in the mind's eye of the artist. That is where the figures for Leeds have been for the last three months. During that period there hasn't been a day - or night - when I haven't worked upon them. I've moved them through every position imaginable: standing, sitting, leaning, squatting, huddled together, set apart. I've added figures and switched males for females. My couple - for that's what I finished up with - then gave birth to a child. The toddler peeps at the Frenchman playing boules from behind his/her mother's skirt. The work has been created and torn apart a hundred times. But as yet I haven't set down anything on paper or built up anything in clay. My successes and failures have gone unseen. And as much as I want to open up the creative process through these diary pages, the first stage is too elusive be put into words.

Trina's Portrait

"Have you nearly finished, my neck aches". After five minutes Trina, my youngest daughter, has had enough of modelling. Actually her impatience works to my advantage. I know I have to work fast, and working without a second to spare usually produces my best work. I started today's session started by wiping out half a day's work. I had previously added her hair but the result didn't please me. I had invented a head of hair and not paid close enough attention to the real head of hair. The first attempt looked like something out of a hairdresser's window. Maybe that is why Trina liked it the best!

So much to learn

In this day and age there is little in the way of guidance for aspiring sculptors. There are no schools that teach the disciplines as fully as they were taught a hundred years ago, there are few books and precious few masters alive to train the next generation. One must learn as best one can. Ton after ton of clay must pass through the sculptor's hands and hour upon hour must be spent working from the live model. It isn't easy and a lifetime isn't long enough to learn all that must be learnt. There is nothing more difficult to model convincingly than the human hand. If the hand is done well the observer doesn't stop to count the fingers.

Church Window Layout

In between modelling sessions I have been drawing the millennium church window full size. This will help me to come to terms with the daunting scale of depicting Christ Triumphant. My Christ Triumphant unleashing a flock of doves has been rejected. The church has requested that I keep to the more familiar vision of Christ with arms beckoning. At least my model will be pleased that he hasn't to contort himself into that pose anymore. Michelangelo had his fair share of rejections from Church Councils. Once, in an attempt to please, he went so far as to devise a statue that incorporated a barber's shop within the figure’s lower extremities and - as a master-stroke - put a chimney coming out of its head!

Mould Divisions

Three-dimensional jigsaw puzzles are nothing new: sculptors have been doing them for hundreds of years. But this is no game. The problem is mind boggling. Somehow, the three standing figures have to be divided into sections of a mould. The seams are made with lengths of brass shim that are pressed into the clay of the figures. Eventually the clay will be covered with plaster to form what is called a waste mould. At the moment this may sound very confusing but over the next couple of months you will learn a lot about the process. This is the most complex mould that I have ever made and one to test my ingenuity. I was awake thinking about it at three o'clock this morning. If I get it wrong the figures will be entombed like a mummy. As I work I imagine the skilled moulders of earlier times critically looking down on me and laying bets on the outcome of my work.

30th June 2000

I've managed to dodge colds all winter. Just my luck that I get one now! This I could have done without. Maybe if I worked in advertising or accountancy I'd have taken the day off and stayed in bed, but in this line of work you don't even think of it. The molds have to be at the foundry in two weeks and at the foundry they will be. The picture shows Denise - on her one day off from college - chipping away at the waste mould of Samantha. In the background Richard, my assistant, is working on the mold for the Bond Court figures.

4th July 2000

So much depends on the model, and with models I have always been fortunate. Elizabeth has dedicated herself to the task and that dedication shines through in the finished work. The pose has been painfully difficult but she's never complained. Furthermore, she's fitted the modelling in between moving house, looking after her family and driving the truck for her husband’s business. She always shown up on time and has never missed a session. Thanks Elizabeth. In turn I've given my best. It's all I can do.

Portrait Demonstration - Megan

For the Allen Gallery I did two demonstration portrait sessions before a live audience and television. Two models on consecutive days, starting at ten in the morning and finishing at four in the afternoon with an hour for lunch. The models, Megan and Jag, were the winners of a primary school art competition. Their prize was a portrait session. A portrait from start to finish in no more than five hours, before an inquisitive audience and the press, is a tall order. I doubt if there are many sculptors that would dare to take it on. I did and here are the results. Thanks Megan and Jag, for making it possible.

Patina

It seems that a successful patina, like a good watercolour, is the result of a happy accident. On my fourth attempt Xander's bust turned out to perfection. It in fact put Trina's in the shade and gave me a hard act to follow on the torso. I can well imagine that, if I keep at it, in twenty years I'll be experienced enough to understand every subtle shade of the business. Just like the episode of Pooter painting the bath in "The Diary of a Nobody" I got quite carried away with applying patinas. Switching from bronze to the plaster I gave Elizabeth’s figure a coat of burnt umber.

Henry Moor Institute

I got quite a shock today on visiting the current exhibition at the Henry Moor Institute in Leeds. The gallery was actually thronged with real people. By real people, I mean those you'd expect to see in everyday life. Usually the only sign of human life is the ever present black shirt attendants. The exhibition of portrait busts is aptly titled "Return to Life". I hope that the attendance figures don't scare off the institute from ever doing such a show again. Being popular to the masses is not exactly in their remit. It would have been nice to have included a photograph so as to encourage even more of the public at large to visit this excellent presentation. I asked a black-shirt but was told that photography is strictly forbidden.

A Ray of West Indian Sunshine

On Saturday I attended a Postgraduate Seminar on Portraiture at the Henry Moore Institute. Even at its most informal, events at the Institute are lodged at the higher end of the scholastic scale. As such its presentations are totally at odds with my premise that: with sculpture, as with sex, intellectual thought only screws things up. For this particular seminar it was even doubtful if I would be allowed in. As with many working sculptors, my academic education amounts to no more than secondary modern school. But Saturday turned out to be a rare and rewarding day. To find a West Indian in the audience is a rarity, even rarer to find that - my God - she's one of the presenters! Charmaine Nelson brought a wonderful ray of Jamaican sunshine into a lecture room that normally has the feel of an Icelandic family mausoleum. Her paper "White Marble, Black Bodies and the Fear of the Invisible Negro: Signifying Blackness in mid-Nineteenth-Century Neoclassical Sculpture" wonderfully linked with all that I have been working for over the years in my adopted Caribbean. Charmaine, for the first time in five years of lectures, you made me miss my train home. Thanks!

At a fleeting glance

Waldemar Januszczak, art critic for the Sunday Times, wrote recently about painting quickly. Both as painter and sculptor, the faster I work the better. What is seen at a glance has to be captured in a moment. A climax cannot be sustained forever. But as Januszczat says: "Painting quickly is still seen in academic circles as a threat to civilization. Those artists who appear to breeze in and do it without a proper amount of effort still seem to us to be breaking all the rules. With other art forms the ability to work quickly is recognised as a sign of genius but a quick painter remains (alas) a slap happy painter." Alas, a slap-happy painter and sculptor I remain. This little sketch was completed on the run in Grenada's market place.