Porcelain Head Days 3 and 4

Typically I am in my clay studio twice a week for at least 3 hours or more. I fire the kiln and do my assemblage work in my home studio. This works well, because I can work on my art everyday at one stage or another.

Seeing the piece today I start noticing some of the faces are longer than the others. I also take a critical look at the neck. Does it need to be longer or shorter? The other thing I need to start planning for is a base. Should a I make a clay structure or start searching for a found object or box? I don’t need to make these decisions yet, but should keep them in mind as I move forward.

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Here I am continuing to refine the features, and make the top edge even. At this point I haven’t decided if this will be a closed form or remain open.


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It’s important to have time pass between adjustments and refinements to the piece. Frequently you can pick up problems better when you have been away from your work. The 4th day I am discovering expression and more of the personality of each face.

This continues to be a work in progress. As long as I keep the porcelain moist, I have options to change directions and modify my sculpture. After each major change or addition of clay it is important to re-wet, cover with plastic and let it rest. Re-wetting is tricky, too much water and you end up with mush, too little and it becomes dry and crumbly. When you get it right, it is heaven.

About Babs

I'm a narrative sculptor navigating her way through the ever-changing currents in what feels like an art ocean. Whether appreciating the calm rhythm of calls for art and exhibiting, or waiting to catch a big wave of inspiration to take me to the top. I just love being in the water. Formerly a pickle packer, theater major, crisis counselor and occupational therapist with a BA in Communications and a BS in Occupational Therapy, only to discover I've always been an artist. My work grows from a strong connection to people and a passion for discovering the beauty in ordinary things. I sculpt figuratively in clay, utilizing the female form and women’s themes. Frequently my inspiration is drawn from childhood memories and my own short poems. Like each of us as humans every work is uniquely influenced by the past and present and has a narrative.
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