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.
Getting affordable, top-quality Photos of your work can be a nightmare but it is essential. In Osprey Studio’s second open Photo-Shoot TV Cameraman Stephen Foote (http://www.stephenfootephotography.co.uk/) will talk you through the images he takes with his posh (very) camera and also guide you to take good images with your own camera using ordinary ,domestic accessories and lights. It will be an intense day ( do bring a note book) but very rewarding. You will get a minimum of 6 publishing-quality images in digital form to use in any way you want and the pictures you take yourself. And you will go home with a good understanding of how to improve your photography in your own Studio.
We will start at 9.30 am. Bring something to share and we will have a relaxed Pot-luck lunch and there will be tea, coffee, or soft drinks available all day. I learnt a great deal last time talking shop with the other Makers. It was a lovely day.
Let me know as soon as possible approximately what work you will bring so we can be well prepared.
There is parking right in front of the Studio. For info and directions click ‘Visit The Studio’ to your left.
There are only 6 places so do book early.
The tortuous kiln-loadings/ fab firings of the Tumble Commission are nearly back on schedule.The Landscape Project started in April with photographer Stephen Foote (http://www.stephenfootephotography.co.uk )getting some depth.Time to review it and have a bit of a think…
Up is Down IX, 57cm W,
Bracelet Bay , Stephen Foote.
Up Is Down- in progress
Up Is Down- in progress
Bracelet Bay, Mumbles, Swansea by Steve Foote.
in progress, Aug 2014.
Bracelet Bay, Mumbles, Swansea by Steve Foote
Before the Busts and while the Tumble Commission was drying we did the trip to Porth Yr Ogof Cave near here and spent some hours in there setting up photographs. Steve was very busy with his thing and I held lights and stopped the groups of excited, awe-struck children Caving from bumping into equipment. It gave me a long time to stand in the shallow river in the darkness listening to the echoes of voices and water disappearing into the mountain’s warren of tunnels. Amongst many other fabulous ones Steve got this picture
Porth Yr Ogof Cave, Brecon Beacons, by Stephen Foote.2014
and over the following month I made these pieces; 
They are 30cm wide or less, each one has a central ‘cave’ and some naturalistic elements. This was when the narrative involving the Wyvern joined in. The Bird is the above -ground landscape from the Tumble Commission and the Whale is the water… beautiful images full of movement….
I am privileged to have special access to the excellent writer Daniel Buck (http://altamiraultimatum.co.uk). He is heavily involved in the story-telling in digital Games and other contemporary Media and we regularly disscuss the myths and icons of the Natural World. He knows my work better than anyone and has been an invaluable influence.I am going to turn to him next and see what frame work he might see in this.
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.
Up Is Down is a fascinating theme that is leading down all kinds of roads. Only time will tell how many of them are very bad….a percentage of my work is regularly too awful to fire – that’s the price of experimenting and taking risks.
I’m working for a very creative Company in the USA involving fire. And I have started a collaboration with Photographer Stephen Foote (see Links for his Web-site) Both of these projects are benefitting from the early work of Up Is Down and now they are leading it with the movement and pull of forces and the changes that leaves on a form.
Music is still key. A central space for Fire and the intension to have no
or little base is a starting
template for the clay-armatures.
Steve and I visited Bracelet Bay in the Mumbles, Swansea,one of the first of many spectacular beaches around the Gower Peninsula. It was a strange, foggy day, very atmospheric, with the Fog-horn sounding in the mist. The feeling of the draw and strength of tidal waters pulling through the forms of stone is accentuated by faces covered in barnacles and pebbles left behind.
Steves pictures will be the reference point for the next batch of Up Is Down pieces.
The resulting Sculptures will then potentially inform his next set of Pictures. And so on until it runs out of steam.
These Miniatures are often made on location in wild places. They are set lightly on a base of stone or wood found at the site so that you can easily handle and turn them as I did when I made them. Each one is a page from my journal with influences from the mountain-side, the elements, the news, music, whatever is upper-most in my mind. Made of fine, highly durable clays they will last for centuries. They are within 15 cm long.
White Breve I, 11cm H plus stone base.
Black Breve I, 17cm H plus base stone.
Black Breve I, 17cm H + stone base.
Black Breve III, 13cm H + stone base.
Black Breve II, 11cm L + stone base.
White Breve III, 12cm L + stone base.
The Mobile Studio in one of my favourite, very quiet spots on the old road to Trecastle. The sound of the river fills the air. There are Buzzards, a Red Kite, Ravens, standing stones and the tough, small, mountain ponies that run on these hills. 
The sky is huge here and ever-changing; storms blow in in minutes. I can carry on working inside the van. 
Rebecca Buck 
