The Celebration Day at Gwalia Mynydd Mawr, 5 November 2014
A perfect , clear blue day for the un-veiling of the Sculpture and a celebration of the whole Project and all the lovely, dedicated people who were involved from Arts Care Gofal Celf, Gwalia, the Primary schools in the area and the extraordinary Staff and Residents at Gwalia Mynydd Mawr.
The video here describes the whole project:
Mynydd Mawr Courtyard Sculpture, 2m h x 190cm w, 2014.
From the outset the many people from Arts Care Gofal Celf, Gwalia and Mynydd Marw involved in this 2 year , multi-fasceted, Baring Foundation ‘Yma a Nawr’ project have put in their all to make it out-standing. After the excellent Installation of the Sirhowy Wyvern I knew that Andrew Preece and his team at Smartfix Property Maintenance would also do whatever it takes to make this Sculpture look fantastic. They are incredibly picky and fastidious, it’s marvellous. Best materials,committed craftsmanship, and they always stick to the Budget no matter how much extra time they have to put in.
Smartfix Property Maintenance at Mynydd Mawr, Tumble
Moving the heavy sections around meant 4 men had to be on site.
The 2 bottom sections are lowered over rebars set into the solid plinth and foundations.
It was critical to get the position of these first sections correct.
The sections are filled with concrete and left overnight to set.
Once everything has set the supports can be removed and the joints pointed.
The charming tiles, made by pupils at Llannon Primary School and residents at Mynydd Mawr are laid out in a measured pattern.
Andrew and Phil set the tiles.
I did the glass with Andrew.
The Leviathan in progress, Sept 2014
Frame-works for The Wyvern IV and, in the back ground, The Leviathan.
The second framework has become the Leviathan, the guardian of the Aquasphere as The Wyvern is the guardian of the Lithosphere. I will make more versions. These will have a pale gold colour. Next I will make a larger Osprey, guardian of thew Atmosphere, in the same clay(Scarva ES50 Crank) and then move to the black clays and re-do the set.
The Leviathan in progress, Sept 2014.
The Wyvern and The Leviathan. in progress, Sept 2014.
The Wyvern IV, Sept 2014
The frame-work for this one was much more developed and lead the form. I made a second one so I could keep the flow going around the drying periods but I didn’t need to break from Wyvern IV; it was strong enough.
Frame-work for The Wyvern IV.
This is asking a lot of a clay. But this is Scarva ES50 again and reckon I’ll get away with it.
The Wyvern and the Osprey, 2014.
The story is coming together. My policy of don’t ask too many questions, let the work flow, put in the hours,review completed forms, is working well.
Porth Yr Ogof Cave, Brecon Beacons, by Steve Foote.This image and the memory of being down there is still key.
Balarat Pit Marker, 6m L x 2m H, Blaengarw, Wales.
The idea of the Wyvern, guardian within the land ,started with the Balarat Pit Marker although I didn’t know the name. The Wyvern is a force and can take many forms. The Harbingers I’ve made are similar figures.
River Harbinger,2012
The Wyvern III, 2014
These busts are developing slowly as my portrait skills heat up and I can work more freely.
Busts in progress, Aug 2014.
Lots of changes, lots of layers.This is the main photo I am focussing on; The sky, the land and the ocean and man’s presence – everything is integrated.
Bracelet Bay, Mumbles, Swansea, by Stephen Foote, 2014.
These 2 pictures and the experience of being in both these places is never far from my mind these days.
Porth Yr Ogof Cave, Brecon Beacons, by Stephen Foote.2014
A narrative is emerging that involves the passage of water from the Beacons’ sky to the ocean at the bottom of the Swansea Valley. The Tawe River passes the Studio and the ground beneath us is full of tunnels from the rivers and from mining. The Wyvern, a dragon with a wonderful mythology about guarding the treasures of the subterranean world entered the picture when I was heavily involved with the history of local Coal Mining and the Pit Marker Sculptures and it is re-emerging here. 
The next clay-armature is more specific now that I have a clearer idea of where I’m going.
3rd Bust armature in progress, Aug 2014.
in progress, Aug 2014.
in progress, July 2014
An intense couple of months ending in a merciful bereavement has lead me back to the clear boundaries and challenges of Figurative sculpture. Portrait skills are hard won and need to be practiced regularly or they will be lost.
I’ve been playing around with the technique of building outwards from a framework that wont be hollowed out later and/or is a visible part of the form for a couple of years now and I wanted to try it with naturalistic work.
The River,a commission. 1.5 m high
Half a Century II, 48cm H x 32cm W.
I started with the exercise Lloyd Lilly taught us at Boston Uni (about 300 years ago); Make the skeleton and layer on the muscles and skin. It is fascinating to do and hugely informative. These are the skills that give Abstract work presence.
Anyone who has taken one of my Workshops will tell you, with tears in their eyes, that the key to figurative work is organising the huge amount of information into manageable stages and that the Skeleton is just a stick figure with the perfect proportions simplified for you.
I’m not sure how I manage to be so thick but once again I made a clay armature for a bust that allowed the head to tip forward. Good thing I have that red broom on hand to prop it up.
With the 2nd one I made a much more interesting frame that would show in places.
in progress August 2014
It allowed me to work on the whole form from the outset rather than build from the bottom up. I’m pushing myself hard to use new methods rather than fall into the same ol’ pitfalls and to be more expressive with the naturalistic format rather than only technical. I’ve done that many times before… but the results were pretty dire! This may also be yet anther very bad road but it’s the only route to get somewhere interesting. I’m aiming to integrate the figure with it’s landscape following the ideas of the Up Is Down Series. Wish me luck….!
Clay armature for a bust, aug 2014
This clay armature is much stronger and the hollow spaces are more defined as part of the form good and early. The plan is to work towards integrating the Landscape work I’ve been doing with Cameraman Steve Foote using his stunning photographs.
Bracelet Bay, Mumbles, Swansea by Steve Foote
Bracelet Bay, Mumbles, Swansea by Steve Foote
Bracelet Bay, Mumbles, Swansea by Steve Foote.
Brecon Beacons, by Steve Foote.
Porth Yr Ogof Cave, Brecon Beacons, by Steve Foote.
This could take a while….
Theatr Brycheiniog’s Kid’s Zone at Brecon Jazz 2014
A Join-In Sculpture, with Zimele UK in Abergavenny Castle. 2015
Theatr Brycheiniog’s Kid’s Zone at Brecon Jazz 2014
Sharing skills and encouraging creativity is what makes the world go round. I have a great deal of experience in guiding people of all ages and abilities towards their own style.
Groups or individuals are welcome to come here – seeing the Studio lay-out and work-in-progress is part of the event. Or I can bring everything we need to you. The Workshop will be custom made to suit your needs.
For Example;
-I particularly encourage Teacher’s to do a fun, very straightforward 2 hour Workshop on Using Clay Modelling in School. We’ll cover firing/ self-hardening clays,recycling clay,decorating and controlling costs, everything to help you keep clay in the class room because it matters!
-A Portfolio Review will clarify the way you see your work in preparation for college applications or a change of direction.
-‘How To ‘classes with technical solutions for challenging projects,especially working on a large scale.
Join-In Sculptures are great fun and full of learning opportunities. It is a wonderful way to get Groups to explore ideas and themes. I have done these with adults and children at Schools, Events and Parties; Everyone adds their bit until we have a fabulous sculpture. Photos are taken and then we re-cycle the clay.
A Join-In Sculpture with The Big Skill at Archaeology For All in Merthyr.
This fantastic 3 metre x 2.5 metre painting was done with many kids at the Penrhos Youth Centre over 6 weeks.
Fees;
£25 per hour + 44p/per/mile Travel + materials .On average Individuals will use around £2.00 worth of clay. On many projects , like the Join In Sculptures,all the material is re-clycled so there is no charge for it.
You learn a lot about your own work from watching a skilled Photographer taking pictures of it. You get a more objective view. The lights are certainly a merciless test of your planes and edges. Stephen Foote’s top quality lenses will pick up every flaw.
I went over the whole piece with fine portrait tools and his perfect pictures reward that. I’m very inspired by the excellent craftsmanship of stone or glass artists like Sally Fawkes (http://www.sallyfawkes.com ) her process is incredibly harsh and difficult yet she doesn’t back off until her stunning sculptures are flawless. Clay is way easier but avoiding marks when you are handling the piece is a constant battle
Sally Fawkes ‘Perceiving Significance II’ photo ;Richard Jackson
After a spell of controlled drying it’s time cut the sections. Luckily I have a fantastic Assistant, Michael Preece. I spent a lot of time planning the cuts; we have opted for large sections and I needed to ensure they would fit in the kiln and be handleable. Mike used a variety of tools to make the cuts and he and my son Daniel lifted the sections to thick memory foam where they will stay for at least a month.
Working in clay you always have an eye on the Drying and Firing -Plan; accommodating these long drying periods where the atmosphere needs to be controlled and having the right sized pieces ready to pack nice full kilns that will distribute the heat evenly.
I went round all the edges of the cuts and tidied them and repaired any dings. I will cover the sections with sheets to ward off drafts and turn them regularly. Most cracks form at this stage although they may not show up until after the Firing.
Almost there- it’s down to finishing touches now. I’ve re-done the head about 90 times and I’m still not happy with it. The Sculpture is wrapped in plastic to rest and settle.I will un-wrap it with fresh eyes and be better able to see what’s needed. In theory. Once the top feels firm I will remove those internal supports- a scary moment ; it could collapse which is why you need to have a ‘sensibly'(pessimistically ) long build time! The supports have to come out because they are restricting the shrinkage and soon they will start causing damage. That broom will never be the same. The outside supports will stay to the end and those sections will get their finishing touches during dismantling.
Andrew Preece of Smart-fix, my expert Installer came over and we plotted the sections. It’s great having his early input. I never compromise on the form but Andrew can advise on structural issues so that the Installation goes smoothly and we get the best result.
That hole in the top left is the last bit to go in. The fired colour will be a stony pale yellow.
Rebecca Buck 