Studio Diary, The Landscape Project, part 1

August 24, 2014 by Rebecca Buck

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 Steve Foote.

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.

Studio Diary; Return to the Figurative

August 19, 2014 by Rebecca Buck

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.

Brecon Beacons, by Steve Foote.

Porth Yr Ogof Cave, Brecon Beacons, by Steve Foote.

This could take a while….

Studio Diary, The Tumble Commission, part 6.

July 3, 2014 by Rebecca Buck

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.

Studio Diary; The Tumble Commission, part 5.

June 23, 2014 by Rebecca Buck

The Sculpture for Mynydd Mawr, Tumble, is in the early drying stage, wrapped in plastic. Once I’m sure the upper sections are firm enough (including the internal supports) I’ll get my Assistants in and we will cut the sections and lift them onto memory-foam for a long , slow, dry.
This is a lovely stage; the clay is still full of water and it holds the light beautifully. I have been over the whole piece with a fine modelling tools.

Photographs by Stephen Foote.

Sculpture in the Garden

June 6, 2014 by Rebecca Buck

A Sculpture will transform any Garden, huge or pocket-sized, elaborate or austere. It will need to be made of beautiful, quality materials that have a radiance complimentary to your gorgeous plants. A piece needs to be frost-proof and easily cleaned. No material is as durable or as low maintenance as high-fired Clay.

I make simple , movable plinths with old bricks and attractive stone paving tiles. Dig a hole and put in some bricks to make a foundation if the Sculpture is tall or very heavy, then build a hollow plinth with a small doorway that can double as a safe, cosy home for wild-life. If security is an issue or the piece is tall and vulnerable to high winds sink a stake into the ground, build the plinth around this and have the stake go into the Sculpture- many of my Sculptures are hollow and you can set them securely with cement if needs be.My garden is 8 years old and is now really coming into it’s own.

The River, commission.

Wyvern II, 70cm H x 52cm W. £1100. (sold)

Up is Down XV, £300 (sold)

Harbinger I, £600. (sold)

Up is Down XVI, 26cm H x 56cm L, £300.

Up is Down II, 42cm H x 90cm L, £950.

Half a Century III, 40cm H, £150.(sold)

River Harbinger, at Wyndcliffe Court Sculpture Garden, 125cm H, £950 (sold)

The River III, 80cm H, £500 Sold

The Edge III, 57cm H, £600, (sold).

Callipygous, 41cm H x 73cm L, £600. (sold)

In the winter sculptures give the garden focal points and structure while the plants rest.

Up is Down IV, 44cm H x 58cm L, £2400 (sold)

Up is Down II, 80cm L, £300

Harbinger I, £600. (sold)

The Garden backs right onto the wonderful country-side of the Brecon Beacons National Park

Osprey Studios Garden backs right onto the wonderful country-side of the Brecon Beacons National Park

Sculptures will define each area of your garden. This patio at the end of the garden is a calm, reflective place with dappled shade in the summer and warm sun in spring and autumn. In the winter the sculpture stands out and is eye catching from the house.

Up is Down II, 41cm H x 80cm L, £300.

Musings, 21cm H, £150. (sold)

Musings, 20cm H, £150.(sold)

The Edge XI, 77cm L x 49cm H, £300

The Edge I , 52cm H, £730.(sold)

The Edge XII, 71.5cm L x 46.5cm H x 40cm D. £1400 (sold)

The Edge XI, 77cm L x 49cm H x 40cm D. £300

The Photography Shoot.

June 1, 2014 by Rebecca Buck

This was an event we will definatly repeat. The group spent the day together exchanging ideas with re-freshing frankness, we had a lovely pot-luck lunch in the glorious sun-shine, and a lot of work got done! It was great to have a variety of materials. The Studio space worked well despite having the big commission in the middle of it so we will look into other group days we could have here.

Cameraman and Photographer Stephen Foote brought all sorts of fascinating contraptions, lights, screens and cameras and spent a lot of time with each person to get the shots they really wanted. He is a wonderful teacher so we all learned a lot. We are wondering if the next one could be a Workshop showing how to get quality pictures using house-hold kit like angle-poise lamps and grease-proof paper. Let me know if you would want to come to that.

These are my favourites;

Gill Tennant-Eyles

John Binet-Fauvel

Melissa Warren

Sian Stanford

Professional Photos of Your Work by a TV Cameraman.

April 19, 2014 by Rebecca Buck

This will be a very enjoyable day at Osprey Studios in the middle of Powys Arts Month. You can bring 2D or 3D work. It will be really interesting to see how the different pieces are photographed and digitally enhanced to show your work beautifully in sharp images with lush colour and texture. The quality will be good enough for publishing in glossy magazines and catalogues as well as for your Web-sites. You can book a time-slot (we will start at 9am ) or come for the full day to relax in the Garden Exhibition and talk shop with like-minded people or watch the Studio Shoot. We will all bring a dish to share for lunch and there will be complimentary tea, coffee and juice all day. Steve Foote is very particular about his pictures. You will definatly get at least 6 stunning images. He’s also very nice and easy to work with. He explains what he is doing and why and encourages your participation so you will pick up some real skills.

Steve Foote filming a Wild-life Documentary in Iraq.

Steve works for Panorama a lot so chances are you have seen his work on TV. Here’s a link to a wonderful film he made about the Wild-life in Iraq. http://www.newyorkfestivals.com/winners/2011/pieces.php?iid=414734&pid=1 Here is a link to his Photography Web-site; http://www.stephenfootephotography.co.uk/ Phone or e-mail me to sign up and join us on the 17th of May; Rebecca, osprey.studios@btinternet.com / 01639 731271 / 07913743457

Stephen Foote; articles from the Mary Rose.

Steve has worked extensively on The Mary Rose shipwreck and these photos show the rich and evocative quality he will bring out in your pictures of Art-work.

The final picture is one of favourites.

Stephen Foote; articles from the Mary Rose.

Stephen Foote; Dunes

Rebecca Buck

Osprey Studios, contemporary sculpture. Phone: 07913743457

Tag Archives: Stephen Foote Photographs

Studio Diary, The Landscape Project, part 1

Studio Diary; Return to the Figurative

Studio Diary, The Tumble Commission, part 6.

Studio Diary; The Tumble Commission, part 5.

Sculpture in the Garden

The Photography Shoot.

Professional Photos of Your Work by a TV Cameraman.

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