I have been reflecting further on my tutor feedback (Howard, 2020) and how I apply myself to my work. I am starting to think that there is a concept in art that is similar to Planned verses Emergent strategy in business. (Riley, 2020) At one extreme art works can be meticulously planned and executed, including reams of preparatory drawings and other work. At the other extreme one might only take an initiating action and the outcome is essentially emergent based on relatively uncontrolled factors. There is clearly a host of possibilities in between.Continue reading “Planned vs Emergent Art”
As with some of the previous research items of the course this is a fairly open research brief, though the context of Clay Modelling limits the scope of the research somewhat. I have approached it as a consideration of sculptural technique and the range of work possible with clay.
Donatello will have made extensive use of clay in his work, though much of the clay work he produced will be visible now as bronze sculptures. The V&A website discusses (V&A, 2020) the tradition of Italian Terracotta Sculpture in the context of Donatello and others. They assert that Terracotta figures, like that in Fig. 1., were used as a cost effective alternative to completing works in more expensive materials.
Whether created as part of the production process for a bronze, or to provide a cheaper alternative for a portrait the use of clay in sculpture at this point was extensive. There doesn’t seem to be a readily available document of how Donatello would have worked with clay, but the most likely approach is that a solid form would have been made on an armature and then hollowed out. Its likely this would have been performed by slicing into the work, hollowing it and then putting it back together with slip. Some Terracotta Sculptures have an open back, which allows you to see the marks left by the hollowing process.Continue reading “Research point: Clay”
In considering part 3 I have been considering some of my previous work in relation to the projects and what I might work on. A quick glance at the following pre-course work is worthwhile for this discussion.
I have previously looked at Brancusi in general, and his “Endless Column” in particular. My consideration of his work, however, was brief and left me with little appreciation of the work. It was reading Anthony Gormley’s words on the work (Gormley, 2015:94) which made me think that this was worth focusing on in more depth.Continue reading “Brancusi, Endless Column”
One of the challenges I was set by my tutor (Thompson, 2019) was to complete a comparative analysis of two pieces of sculpture. Having previous seen Annie Peaker work, and going to a making demonstration by Brendan Hesmondhalgh I decided that this was a strong starting juncture.
Annie PeakerContinue reading “Contemporary figurative ceramics comparison”
A slight tangent which is related to an earlier post (Howard,2017):Continue reading “Reflecting on process”
I wondered about starting this during Part 1 but didn’t get around to it. I’m going to document some of the work that I run into as I’m out and about. The idea is purely to document pieces that catch my interest, rather than everything.
This is first up because it is very close to where I am currently working:Continue reading “Sculpture out and about”
The following article was recently sent out in one of the OCA forums: Here’s Why Spiky Shapes Seem Angry And Round Sounds Are Calming . I wasn’t sure what to expect when I saw it, but it is a summary of psychological study findings, and has interesting implications.Continue reading “Shape psychology”
I’ve been aware of Andrew Goldsworthy’s work for a while, and so was particularly to both run into a piece by him when out and about. The following are a few of my images of the work:Continue reading “Andrew Goldsworthy’s Pinfold”
The title was (mostly) provided by WordPress, but it fits the bill all the same. I started my OCA Journey with Foundation Drawing and then Drawing 1 (See https://david515893.wordpress.com) and am now continuing with Sculpture 1. That, however, isn’t really the start of my Sculpture journey. For that we need to go back to about 2005, when my wife gave me a set of wood carving tools for my birthday.
The rose shown as the featured image was the first step in that journey, and was followed by a lot of carving related learning. The number of skills needed to create a strong wood carving is significant. Wood grain, sharpening tools and translating a maquette to a physical form is a highly summarised list. For amusement, this video will give some idea:
Along the way I realised that, at least to a degree, my lack of drawing skills were limiting my progress. This lead me to “Drawing on the right side of the brain“, and hence onto to the OCA. I am hoping that this course will start to pull back together what has become separate paths in making progress.