Sculpture Studio: December 2018

Friday, December 28, 2018

The emotional impact of colour

Abstract art has nothing on nature, particularly when it come to design and the emotional impact of colour. In comparison, the painterly daubs that so often pass as abstract art are a feeble thing.

Today's picture is an off-cut from the tree that demolished the roof of my life-class teaching studio during hurricane Maria. On my wood lathe, I am now busy turning segments of the tree into bowls that retain the tree's colour and grain pattern. The colours are so similar to the skin tones of my models that it seems nature herself benefited from observing the subtle beauty of the nude.

Below is a partly turned bowl from the same tree. I now need to allow the moisture content to reduce further before finishing.

Below is the finished bowl.

Saturday, December 22, 2018

In all innocence

In creating paintings and sculptures that express the beauty of the nude figure, my models and I work in all innocence.

In addition to this blog, a small selection of my work is posted on Tumblr, the reason being that I follow the work of others on tumblr who have a similar interest. True, some of their postings may be deemed pornographic, but even at 75 I keep on open mind. I have a greater issue with the foul language that is often found on Facebook postings. Like D H Lawrence, I have no problem with the powerful single syllable "F" and "C" words providing their meaning is kept in their truer context of sexual intercourse and the vagina. I denounce them as curse words.

A few days ago I was alerted to Tumblr's out of the blue crack down on what their censors deem as "adult content"; and "adult" applies, not just to children, but to viewers of all ages. I thought my work would be except, but on checking I found that many of my posts had been deleted. Curiously, the posts that one might class as being on the borderline were left intact and the more innocent ones deleted. It seems that I can paint and sculpt breasts providing that I omit nipples!

I appealed their decision in relation to my work and, to the credit of tumblr, my appeal has been granted.

Below, in all innocence, is one of the paintings titled Jessica Reading that they initially deemed as phonographic. The adage still holds true: he who thinks evil sees evil.

My forthcoming book Notes on the Nude deals with these issues at greater length.

Sunday, December 16, 2018

Who, where and when?

It becomes confusing. My past portfolios contain thousands and paintings and sketches. You can add to that hundreds more that were started but never finished, as with today's pictures.

I can vaguely recollect making these sketches but what eludes me is: who, where and when. Moreover, after a promising start why did I not see them through to completion.

I stress that these sketches are unfinished and worse for wear after being battered by two hurricanes. They are therefore to be viewed in the context of this post. I say this because of a recent unfortunate experience where one of my paintings was used, without my approval, and re-published out of context. May I remind the unscrupulous, that both text and images are subject to copyright.

Saturday, December 8, 2018

A Note of Thanks

My forthcoming book Notes on the Nude begins with a dedication to my models - for without their contribution to the creative process my work would not exist; and ends with an acknowledgement to my daughter Tania for her help in formatting the text and illustrations.

Below is one of my faithful models, followed by my equally faithful daughter Tania.

Footnote:

Two days ago we were reconnected to broadband after the major hurricane that devastated Dominica of over a year ago. For these posts and my work in general, it is a huge step forward. My thanks to Cable and Wireless, our service provider.

Subscribe to: Posts (Atom)

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.