The Negative Space IV (Part II)

... Using a building technique I learned at the local studio I studied at for many years: pinch-sized bits of clay gently but firmly pressed together, slowly building volume. This very steady, gradual adding of material gives a sense of the form growing organically and the slow, steady progress affords the sculptor the necessary time to embody the growth in volume.
Here I needed to retain a fairly thin layer since the white clay layer needs to be separated from the fired black clay form just before it becomes leather-hard - a delicate manoeuvre.
Here are the initial results; the first (I) more successful then the second (II), I think at this stage:

I

II

The Negative Space IV (Part I) - a Positive Negative

By way of a gentle re-introduction to the Negative Space series (click on The 'Negative' Space under Series/Themes), here are some negatives of a different kind, from the AA School of Architecture website
AA School of Architecture
Clay hand models by Lucas Williams.

I came across these during my initial searching into the 'negative' space and am inspired by the forms/shapes the negative space creates. Beautiful and fascinating forms, 'making visible the invisible', or at least what is otherwise usually considered invisible; physically defining what is inside the 'concrete' form, making tangible what is inside the material substance. I also love the immediacy of these shapes, the spontaneity of form:   

My hopes/expectations were high for the first approach, i.e. using polyurethane foam to fill the negative space, as described in previous 'Negative Space' posts. 
Disappointingly the initial resulting forms/shapes were, unlike these clay ones above, in no way inspiring, neither beautiful nor fascinating. The rather ebullient character of the polyurethane foam is - or has been to date - too forceful to work harmoniously in juxtaposition with the 'positive' clay form. Colour is also an issue, as is the feel, weight and sound of it once cured.
The next step was the decision to see whether the white clay would be a better match for the black earthiness of the 'positive' form. 
Using which building technique? ...    

Re-engaging with an Old Friend

A wedding gift; a chance to re-engage with an old friend. 

The unfired, dried clay original

Work in progress in late summer; the early stage in the process:

Pure joy!

Settled in its home

Autumn @ Hindleap II

Bringing the outside in; Nature ever the sculptor:

Autumn @ Hindleap

An inspirational garden walk on an atmospheric autumnal day:

Nature ever the sculptor

The 'Gardener' the occasional sculptor