I love sculpting. Sometimes, while working on a painting I would go get something from my art room, see this sculpture and start working on it, forgetting all about what I was doing before. It sends me to a meditative state of mind and satisfies my love of the human figure and anatomy.
I made this sculpture during a sculpting class I took a couple of months ago. It was my first sculpting class, though I sculpted on a small scale at home before. This time I learned how to do it properly – how to construct an armature and use sculpting tools (though I still prefer my hands for most things).
The instructor for the class was actually a sculptor whose work I really like. You can check out his website Here.
So… about this piece: It is currently made out of oil-based clay and is connected to a pipe to provide it with support since I haven’t casted it (quite an expensive process). It is 22” tall.
The class was 10 sessions and was not enough time for me to finish everything, so I actually worked at home without a model for a while to finish it. I can’t say I find this sculpture perfect. But hey, I need to stop telling you what I think and just let you see it for yourself. So here it is. I took pictures from all sides, more or less and from some favorite angles.
So.. that’s it. I have plants for more sculptures: some I plan to do from imagination and use them as a way to further study anatomy as I go, and at least one I plan to do from a model as part of an “open studio” sort of thing.
One last note: I’ve been working on finishing a couple of pieces that have been lingering for a while now since my last semester at the atelier. These two are definitely my favorites from all I’ve done at the atelier and have a lot more “me” in them than the other works I’ve done. Turns out my mind works very slowly in figuring out “big picture” things in art. It takes me a while of staying away from a painting to realize what it needs. Hopefully I will be able to display them soon.
Thanks for reading and have a nice rest of the week.
So I figure I’d write an update about how things are going. June 29th I graduated from a full-time 3 year program at Georgetown Atelier.
Just in time… as even though I think I have so much more to learn, I was definitely ready to be out of an atelier environment. Perhaps this particular atelier, but nonetheless, it is nice to be on my own.
I have a couple of finished pieces which I will photograph and display soon.
One of the finished pieces is “Glimpse of the desert” – a painting I’ve been working on for a while from a miniature setup I built. Continue reading →
That picture and this painting of her face share the exact same principle as in this Georgetown Atelier Tutorial, which was really fun to discover.
The key is that the darkest dark is in the cast shadow. In the sphere it is the shadow right under the sphere. The core shadow is second in degree of darkness and lastly is the dark side filled with reflected light. The light on the model’s face was exactly the same. If you examine the picture bellow, look in the groove of the chin, under the top lip, right under the nose, and right under her eye in the dark side: Those are all the darkest dark. Second in degree is the core shadow, which is slightly less dark (like on her cheek), and the reflected light, which is significantly lighter here than the other shadow areas.
Seeing this principle clearly allowed me to paint with greater clarity, and better yet, I will be looking for the same principle next time I paint and every time I paint.
Trying to find a good version of Chopin’s Nocturne Op.9 on iTunes I find myself going through some strange feelings while listening to the different versions by different artists. In most cases, I feel this strong irritations at those who are doing it “wrong”. They slow down in sentimental parts too much, making it sound artificial, or they play around with the notes trying to sound fancy, or they space the notes in such a way that makes it sound “sophisticated” but completely loses touch with the emotional content.
I think to myself: It is just like those dancers who have perfected the moves of the dance so much that they seem to be a caricature of expressing feelings instead of expressing them through dance. Continue reading →
2 Years ago I painted this painting from a live model over the summer:
After the painting was done, I felt restless about the background, which I did not like at all.
I realized what this model and pose really remind me of are a solitary moment of an Arabian princess, as she’s getting dressed in private, standing in a tent, catching a glimpse of the desert sunset through a crack in the tent opening.
From the moment I thought of that idea, I was sold on it. Continue reading →
I’ve prepared several studies for it trying to decide what exactly I want to paint and how to crop it. I spent several hours cropping, re-cropping, painting and repainting this small figure until I made up my mind.
Today I’ve transferred and fixed it onto a canvas, did an underpainting (which is a single-color, transparent painting which helps guide the placement of the main layer of paint). Tomorrow and next week I’ll do the painting itself.