Barbara Melnik Carson

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Looking back at the calendar and when I began posting, I am reminded that it has been over a month since I started working on sculpting this piece. My first images are from July 2nd. These last two weeks working have been both joyful and anguishing. In some ways like when you are reading a great novel, you can’t wait to get back to it. However, you know you will be sad when you finish and no longer have something to look forward to reading. Guess you can find another book, as I will probably begin a new sculpture.

Working I am constantly reminded of the of the importance of slow and even drying. Periods of rest, where I carefully wrap the piece in airtight plastic to slow dry and redistribute moisture. Every time I make a change or add clay I need to let the clay have a chance to get used to its new form at each phase. It is critical to work without having one part dry too quickly before the rest of the piece.

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The changes above are subtle. I’m working on the details in the facial features and hair. I also added a bottom to the neck. I have kept the clay someplace between plastic and leather hard. In order to stand it needs to be firm, but wet enough to shape and sculpt.

Monday I will return to the studio and decide what is next. If I make no additional changes I will begin to let the piece dry slowly by loosely wrapping in plastic, then gradually removing the plastic. My concerns here are decreasing the potential for slumping or cracking when I finally fire.

Any comments, or suggestions are always welcome.

There is so much to enjoy in the process of sculpting in clay. Once I begin a new piece, I rarely work in wet clay for more than 3 months. I’m always too impatient to see it completed.

It is possible to keep a wet clay form moist a workable for a year or more. It requires a strong sealed plastic wrap and periodic re-wetting. You may find mold will begin to grow on the clay. Spraying with a mixture of vinegar and water can help minimize the mold.

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So above you can see more of the individual identities in the faces being refined. A friend suggested these were the four muses. In Greek mythology was Thalia the muse of comedy, Melpomene was Muse of tragedy, Terpsichore Muse the Dance, and Calliope was the Muse of Poetry or song.

I will keep working and see what develops. Please add your thoughts or comments.

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.