How I achieve ‘flow’ in my carvings

Focus on silhouette

Alan Moore, author of ‘No Straight Lines’ and ‘DO/DESIGN Why beauty is the key to everything’ asked me to tell him about the carving process and to try and describe the elusive ‘flow’.  As a subject it’s big and pretty intangible, but I’ll try to describe both how I achieve flowing forms, and how this leads me to get lost in the flow of the process.

I’ll write another time about the mechanical, physical act of carving – the flow and twists of the chisel and the rhythmic beat of the hammer or mallet, but for now I’ll talk about what my eyes focus on while I’m working and how I lose myself within this narrow field of focus.
I haven’t tried to put it into words before so I hope it doesn’t sound like gibberish!

When I carve my eyes  concentrate on three particular things (often alternating quickly, but not at the same time).

1.The outline.  The outline of a form changes every time you shift your viewpoint. To use the analogy of a pencil sketch on paper – it is as if every time you shift, even just by a fraction, you have a whole new line drawing in front of you.
I scrutinise the whole of the  outline from one end to the other checking where there’s a break in the flow of the line.  I jump forward with a waxy builder’s crayon in my hand and mark the offending bump. Then I shift my body by a fraction, or turn the sculpture on the turntable, and scrutinise the fresh view that I have. When the sculpture is scrawled with crayon I chisel away the offending lumps and bumps, and begin again the checking process. I do this hundreds and hundreds of times until I am happy with the flowing outline. People looking at the completed sculpture might be unaware of the purity of the silhouette but will subconsciously sense the harmony that a flowing line creates.

2. The flow of the surface.  I try and figure out how the form should flow between the external outlines, whether concave or convex, or  moving from one to the other.
To picture this flow, imagine holding a piece of paper in both hands and flexing it in different directions. I try to get this flowing tension in my form.
The truth is, if you use the first way of looking – eradicating the bumps that disturb the flow of the outline, the surface of the form gradually sorts itself out. But generally carving is a mixture of these two processes.

3. Carving with Light and Shadow. This is the Grand Royale of carving. It almost guarantees that one will achieve flow – both in form, and as in a particular state of concentration. When I have this I work without pause, instinctively knowing what steps to take, fearlessly hacking away great chunks knowing that every thing will meet up harmoniously in the end. Ah, blissful state!
The way shadow falls across the surface describes the quality of the form. If the outline of the shadow is crisp and flowing, then you can be sure that the itself form is fluid and taut.
A good light to carve by makes carving simple – you just refine the shadow (which is strong and easy to see), and the form resolves itself :>)
Bright, clear daylight – preferably raking from the side as in early morning or late afternoon- is best. Alternatively site lamps are good, but best used in dark conditions.

I think daylight is best but I’m not sure if that’s because it is more subtle, or because it is mostly fleeting. A shaft of sunlight falling across my carving, highlighting a flaw that might never be caught again (not until the sculpture is installed in situ and it’s too late to rectify!) prompts avid activity, total absorption while the precious light shows me what I must do.
Though I have used the word ‘flow’ many times, here and in the past, my friend Susan Harper pointed out that this state has been closely analysed by the Hungarian psychologist Mihaly Csikszentmihalyi. You can read his understanding of Flow and listen to his Ted Talk (the latter half discusses flow).

I hope my description sheds some light on my carving process.

Postscript: If you feel inspired to carve, come on one of my Stone Carving Workshops  :>)

 

 

 

Watch my 6 minute PechaKucha presentation

Lucy 2 cropped

My fast and furious 6 minute PechaKucha slide-show presentation is now available to watch on-line. I found it hard at first to talk about such a sensitive subject as memorial commissions – with a raised voice to a large audience – but after a faltering start, I find my pace and cover many points.

**If you like my PechaKucha presentation, please click the black hand symbol by the slide-show – my commissions come from all over the world, and ‘applauding’ my work will help reach a wider audience.

Many thanks! :>)

If you haven’t already, you might like to read the post I wrote about how preparing for the presentation prompted a huge and useful stock-take of my work and the direction I’m going. I thoroughly recommend that everyone should take part in such a distilled presentation of themselves!

Fallen – the ongoing story of Chris Seeley’s memorial

Polar Bear in situ with flowers

You might recall an earlier post about the Sassy Bear memorial honouring my  school friend, inspirational artistic innovator Chris Seeley.  Alas, last week’s wild storms brought great trees crashing down throughout the country – and one fell directly on to the memorial wreaking much damage.  The bear’s strong and sturdy neck was broken off, as was her outstretched paw.

Fallen

Luckily, I am able to call in the services of another friend, the very able conservator Sarah Healey-Dilkes! With much experience under her belt, (for the V&A and as a free-lancer) Sarah is confident that Sassy Bear will soon be put to right and sashay onward, head held high, for years to come.

Chris’s husband Geoff suggested that the Japanese art of Kintsugi might be used… That is, making the repair itself visible and precious by using an adhesive material  mixed traditionally with powdered gold, silver or platinum…It treats the breakage and repair as part of the ongoing history of an object, rather than something to play-down and disguise.

Of course, many issues need to be considered when repairing an outdoor stone object (such as the effect of weathering over time), so Geoff and Sarah will have to weigh up the different methods of conservation.

In the meantime Geoff, who is a professional storyteller,  has woven fine gold out of this sad accident..  I’d like to share the beautiful poem that he has written in response:

Fallen
When the tree fell in the night,
did your bear-heart tremble
at its terrible declension?

When it struck your broad neck,
did you cry out in reproach
at nature’s sacrilege?

Did the forest weep for sorrow
as your magnificent head
crashed to the floor?

And what of those who love you,
brought to disbelieving tears
by your shattered limbs?

We remember the old songster:
there is a crack in everything,
that is how the light gets in.

So we will tend your wounds,
and make you whole again
with seams of gold.

The beauty of brokenness
is the only poetry
I care for now.

Geoff Mead  |  Kingscote  |  22 November 2015

I gave a PechaKucha presentation and so can you! :>)

Photo by Maarten Steenhagen

PechaKucha 2When Jon Torrens asked me if I’d like to take part in a PechaKucha event I knew I’d been offered a publicity gift-horse I’d be a fool to turn down (no matter how hard my fear begged me to do so).  What I didn’t realise was that preparing the talk would be a transformative experience in itself, bringing benefits that went way beyond a publicity shot.

‘Talk about yourself and your work’ sounded innocuous enough, but it prompted serious soul-searching -‘What exactly do I do?’.
On one level this question is easily answered – ‘I’m a stonecarver/ sculptor…I sculpt stone’…. but that answer wouldn’t fill up the allotted 6 minutes 40 seconds, or be very enlightening.

The  20/20 format (20 slides on screen for 20 seconds each) requires more than just the bare bones – but not much more. What’s needed is much thought – and a very distilled response.

My prep notes felt more like a haiku, though I’m sure my delivery was less succinct and more garbled (I haven’t had a chance to listen to the recording yet, and nerves erased the whole experience from my memory).  However, I found that jotting down thoughts had enabled me to see threads running through my work, which I hadn’t seen before, or needed to verbalise – even to myself.

The slide shows and accompanying voice-overs will go on line in the next fortnight,  but I’ve already got more than I could have hoped for from the experience – a prompt for self-scrutiny , followed by feedback from a warm and welcoming audience.   Who couldn’t profit from that?

I heartily recommend PechaKucha to anyone –  as a participant or as a curious on-looker, by coming to an event at your local venue or watching on-line.
Check out the global PechaKucka site for more info.

My presentation and those of the 5 other participants will be on line by the end of November. See PechaKucha Cambridge

PechaKucha 1

Why take a sketch book when you look at sculpture?

Barbara HepworthIf you haven’t gone yet, and you possibly can – take this last opportunity to see Barbara Hepworth’s exhibition at the Tate. And if you go to see this or any sculpture – take a sketch book and pencil.

Why?

I thought about this as I scribbled furiously, and here are my thoughts;

Looking at sculpture and not sketching is like listening to music and not dancing. Your mind will take in the details, but there it ends. (ok, I want to say ‘but not your soul!’, but that’s not everyone’s cup of tea). What is certain is that trying to record a sculptural form with lines and scribbles and notes makes you look at the object 360 times more intently.

You might want to sketch, but be scared that ‘people will think you look poncey’. Feel the fear and do it anyway! You will be so absorbed with your task that a whole herd of cows could come into the gallery (and judge you) and you wouldn’t notice or care. You will feel great.

The sketches that I am urging you to make are private studies, not intended as artwork in itself, though they might be beautiful in their own right. The point is the process, not the outcome. Even if you never looked again at your scribbles, they will not have been a waste of time: its the act of looking, trying to understand the piece and capture it’s essence that is of value.

There are so many things to look at at once, and addressing each question on paper shows how the different elements relate to each other as a whole. Here are some things to consider when you scrutinise  a piece of art  (and remember much will change each time you shift your viewpoint –

  • What is the outline of the sculpture?
  • What shape the negative spaces? (ie, the gaps between the solid forms).
  • How does the shadow fall across the sculpture, and how does this emphasise the form?
  • Notice the texture. Are the tool marks left from the carving process, or were they added deliberately for effect?
  • Is the piece trying to be a realistic representation? What distortions has the artist made – were these deliberate to emphasis the mood of the piece, or just a failure in translation?

At this point it’s not just about the piece as a physical object but as an artwork made by someone, and how you relate to it on a personal level. If you don’t do this already, here are a few questions you could ask yourself whenever you look at and assess a piece of art-

  • Do I like it?? Whether yes or no – why?
  • What is it trying to represent? Has the artist succeeded?
  • If the sculpture represents a living being , can you tell if they were old or young, thin or curvaceous? In a calm repose, or poised for action?
  • Do you feel pulled to walk around the sculpture to see what is going on on the other sides? Does it work ‘better’ from one side or another? (Hopefully not, in my opinion)
    and most importantly –
  • Does it have a sense of life to it, or does it merely look like a study of something else? This is a really important question. A piece of art could be exquisitely made, but lifeless – or badly put together, but you don’t care – it makes you feel something, it makes you believe in it’s right to exist.

my sketch of BH

I like to take a rotring pencil with me (0.7, H or HB) as they stay nice and sharp. Don’t bother with a rubber as it’s all about the journey and redrawing, redefining your record, adds to the story. Enjoy :>)


Autumn update – the early stages of my new commission

I haven’t uploaded images of my ‘Mother and Daughter’ sculpture, nor my carvings over the summer.  But instead of catching up now I shall leap-frog on and post some photos of the early stages of my next commission – a pair of sculptures for the foyer of a hospice.

Under wraps

Here is tantalising glimpse of one of my maquettes…She’s wrapped in moist cloths as I am having to put her aside while I hold a Stone Carving Workshop in my studio this weekend. And below are samples of the red sandstones that I have been considering.

Sandstone samplesStone sourcing involves a lot of phone calls to quarries and stone suppliers to check the availability and quality of their stone. Quality and availability can change from month to month, depending on the geology of the patch of ground being quarried. A new seam of rock at the same quarry might yield stone  of a radically different appearance – bands of different colours and textures can criss-cross a block, a bed of shells might appear, or dark speckles scattered throughout what was previously pure and uniform.  Yet both stones are from the same quarry and are sold under the same name. So asking the stone supplier for a current sample is essential before deciding which stone to use for a new commission.

Having fallen in love with a particular shade of stone the next step is to find out whether that particular stone is quarried in blocks of sufficient size – sometimes a stone might only be available in shallow strips (whereas a few months previously it might have been available in large blocks).

I was very keen to use a warm-coloured stone, with interesting natural qualities, for my new project. I generally tend to avoid Portland (that star-of-availability, consistent texture and vast bed-height) because it can seem too cold and formal, (too ‘noli me tangere’ for my taste) – though for many reasons it is the perfect choice especially for large, outdoor commissions). I don’t like carving sandstone because the dust is bad for the lungs so one has to wear a dust-mask throughout, and the rough grit blunts tools in the bat of an eye. However, it comes in beautiful shades that just can’t be found in limestone.  I’ve plumped for a warm, rosy red which sparkles in the sunlight…

Watch this space…  :>)