We have just processed the sitting for Gary Mccann’s portrait. This is going to be one & a half life-size portrait of the Theatre Designer. For this sitting we took the traditional portrait photographs 360 degrees and as many critical measurements as possible. We will be posting images as the portrait progresses.
To see Gary’s work please visit www.garymccann.com
Recently revisiting the Michelangelo’s David at the Academia Gallery in Florence reminded us both of the differencing mindset and approach a stone carver has to sculpt a figurative piece, to that of a clay modeller. Most people understand the concept of carving as a process of working from the outside inwards to determine the figure, which is the complete reversal to the clay modelling process. Both being clay modeller’s our appreciation of the carving process is naturally heightened when admiring the work of Michelangelo.
Interestingly, Michelangelo always kept his working methods a secret, however his friend and biographer Giorgio Vasari does write an account on Michelangelo’s working methods and practices. Vasari’s description of the process does seem to contradict though, particularly when scrutinising Michelangelo’s unfinished works for example the Slaves, “Awakening Slave”, “Young Slave”, “Atlas Slave”, & “Bearded Slave”. (all four in the Academia). Vasari seems to describe generic and commonplace practices that stone carvers would follow. For example, previously making clay terracotta models of the subject prior to carving, then often as not, casting these into wax to be used for reference only. The Water Box system, although, Michelangelo apparently did not use this or the Pointillism system, these were very traditional methods of orientating the reference points of the figure within the stone block. It seems Michelangelo worked directly into the stone, having one main primary viewpoint, as can be seen in the unfinished Slaves.
It is worth remembering that a copy of Michelangelo’s David does exist in the Victoria and Albert Museum in the plaster casts room.
The wax portrait of Duran was commissioned in 2013 for the 13 year old’s Barmitzvah, held at Madame Tussauds Baker Street museum. He came back for refurbishment this year and was safely returned to his home during the summer.
We are currently re-working this sculpture for a 2015 exhibition, new designs and images of work in progress will be posted soon.
We are currently showing at Southampton City Art Gallery – the London Group exhibition titled ‘From David Bomberg to Paula Rego‘ runs from 28th June – 1st November 2014. The work we are exhibiting at the City Art Gallery is a sculpture titled ‘Angel‘. Angel was originally produced and exhibited in 2012; the piece is based on a soldier, represented as a fragment, war torn and twisted shrapnel.
To see the article from The Public Catalogue Foundation please use the following link http://www.thepcf.org.uk/whatwedo/48/reference/893
Previous Shows with the London Group:
- Centenary Open Exhibition: Cello Factory, March 2013
- The London Group at 100: Mottisfont Abbey, February – April 2013
- Centenary Members’ Exhibition: Pitzhanger Manor, January – March 2013
- Members’ Annual Exhibition: Cello Factory – October 2012
- On My Behalf – Self Portraits: Cumberland Hotel, September – October 2012
- Members’ Open Exibition : Cello Factory, October – November 2011