The mood lives on

Twenty-two years ago, with my wife in the final months of our oldest daughter’s pregnancy, I was trying to make ends meet on the pristine island of Bermuda.   As there was little in the way of riotous squalor that I could get my teeth into, my watercolours became as orderly as the landscape. 

  

But within my portfolio for that period there can be found a note of rebellion.   I clearly remember, as I threw down the thunderous washes in this painting, that my thoughts were of my beloved Caribbean.  The mood lives on.

Creativity and the comfort zone

By some strange quirk in the makeup of artists, and contrary to expectations, creativity does not fare well in the comfort zone.  If given luxury and financial security we procrastinate: put every obstacle in our way and we produce our best work.

Thus my present creative zeal owes its origin to the trials and tribulations that are doing their best to thwart me.  The New Year heralded the breakdown of every device we possess.  But despite no electricity supply (the final straw) and three weeks of tropical downpours, the creative urge lives on with vengeance. 

Today’s picture shows work in progress on the torso of my life-size bathing figure.

In labour

My diary entries for August 2^nd (A haunting vision from long ago) and August 11^th (Oh what a pity) tell about the conception of the life-size figure that is presently my work in progress.

As in real life, conception is pleasant and painless, whereas giving birth can be agonizing.  Although delivering the final bronze cast can drag on for many years, the completion of the work in clay represents the true birth.  

As you can see in today’s picture, after a score of sessions with my model and many sleepless nights, the figure is beginning to take shape. 

Work in Progress, Part 2

Today’s picture shows the progress we’ve made on the portrait bust over the last couple of weeks.  Once again I stress “we”, for without a model there can be no portrait.

My model solved my dilemma with her straightened hair by arriving one day wearing a traditional Creole head-tie.  The madras “headkerchief” can be tied so that the corners make one, two three or four points.  The number of points carry a message to would be suitors. 

One point means, my heart is free.

Two points, my heart is engaged but you can take a chance.

Three points, my heart is already taken.

Four points, I have a place for whoever desires.

Teamwork

Between sessions, my most recent model is studying Business Management.  Last week, as part of her course work, she had to make a presentation on the subject of teamwork.  For her topic, she cited the artist and model as one of her examples.

Her choice speaks volumes about her understanding of the crucial role of the model.  Furthermore, it set me thinking about a host of others who have contributed their skills to the sculptor’s work.  

Not least on the list are those master craftsmen who for centuries have made the tools for the job.  This link http://www.youtube.com/watch?v=gvr2nZeAfNc will give you glimpse of what’s involved.  Then comes the moulders, who job is to take the initial waste-mould and then the intricate piece-mould.  And finally, the multiple skills of the foundry workers. 

Over the years I have been privileged to share the work of these incredibly accomplished artisans.  Sadly their numbers are in decline and there is an urgent need to train future generations before their skills are lost forever. 

To make full-circle, let me come back to the contribution of the model.  From a life-time’s practice I’ve learnt to make my own tools and take my own moulds.  Given a furnace, I can cast in bronze.  But without a model, sympathetic to the work at hand, I can’t even begin.

Today’s sketch shows one of my models relaxing between sessions and I dedicate it to all of those who have worked behind the scenes to make my work possible.