Final touches for the 16th Istanbul Biennial 2019
Unpacking Pinocchio and setting up Geppetto’s Giant Hands!
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.
Paul and Laura have recently become members of the London Group having been nominated for membership in 2009 by their long-time friend and fellow sculptor Professor Eric Moody.
Paul and Laura are very excited about becoming members of the London Group as this gives them the opportunity to exhibit there own work on a regular basis. They participated in the London Group last annual exhibition, exhibiting a new piece of work called ‘Lewis’ that explored the physical dynamics of celebrity recognition and scale.
Paul and Laura are the first joint members of the London Group representing the recognition of artists that permanently work in collaboration. The London Group is made up of over 80 artists’ painters, sculptors, photographers, video and installation artists etc. which makes for interesting and diverse exhibitions: www.thelondongroup.com