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Continous lines of clay
I’ve always enjoyed drawing with the left hand. There are some preconceived ideas about jerky movements and clumsiness, in practice it should be possible to reproduce flowing continuous lines, or any kind of lines to portray anything, (I haven’t done it yet.) After a year, maybe more of my hand being out of the cast, I decided to cheat myself a little, and stress the old injury by using a hammer, I didn't mention it to my therapist. I’d vowed never to pick up a tool ever again, but I have a problem, that is I can't keep myself from wanting to do things for myself. The things I do involved some construction in a garage, I was trying to help with some new framing...well the force and the stress causes the plate in my wrist to come loose and my arm got all swelled, I never liked dangerous construction work to begin with. Did I mention I broke the arm falling through the roof of a barn? This long explanation gives up why I mentioned drawing left handed. Now when I complain about my right wrist the doctor I see merely says that I should use my left as much as I can.
My first surgery involved the surgeon connecting the radius together after a break from a very bad fall, with a big plate and screws! Something that took the whole year, and more to start getting normal use from. During the pre-exam for another surgery, this time to remove that bad plate, (due to the new complication) my doctor suggested that I do more with my left hand, and when the doctor says something, no matter If it is just in passing, it means business. I'm relearning to throw, write, and draw, I especially enjoy the drawing that I do left-handed. From these drawings I gathered inspiration for early development of these new series of characters, that I'll be transfering onto clay.
While recovering from the second surgery I found that I could flatten sheets of clay, and started using different thickness of the flattened clay to produce ripples over a relief sculpted area, (I’ve always trusted the figure to retain my focus), and using the slightly arbitrary surface brings interest and significance for me; because of the arrangement, cooperation, and relationships, between transition form. And positive and negative spaces, have similarity to the overlap of glazes on pottery surface. You can image it is like drawing on a window pane, what happens with glazes can be very complex within the thin layer of melting silica.
These transitions and the dimension that can be portraited have always had my interest and are also a great challenge. For instance the thin sheet of glass which makes up the glaze surface of a pottery piece, when magnified will show the glass bubbles what are frozed back when the glaze was molten. Within this layer of glaze are many other layers made up of minerals, some take different position because of the molecular wt., and reflect light in different colors, as a prism would for its own wavelength. Easy to explain, but complicated to see happening.
My first surgery involved the surgeon connecting the radius together after a break from a very bad fall, with a big plate and screws! Something that took the whole year, and more to start getting normal use from. During the pre-exam for another surgery, this time to remove that bad plate, (due to the new complication) my doctor suggested that I do more with my left hand, and when the doctor says something, no matter If it is just in passing, it means business. I'm relearning to throw, write, and draw, I especially enjoy the drawing that I do left-handed. From these drawings I gathered inspiration for early development of these new series of characters, that I'll be transfering onto clay.
While recovering from the second surgery I found that I could flatten sheets of clay, and started using different thickness of the flattened clay to produce ripples over a relief sculpted area, (I’ve always trusted the figure to retain my focus), and using the slightly arbitrary surface brings interest and significance for me; because of the arrangement, cooperation, and relationships, between transition form. And positive and negative spaces, have similarity to the overlap of glazes on pottery surface. You can image it is like drawing on a window pane, what happens with glazes can be very complex within the thin layer of melting silica.
These transitions and the dimension that can be portraited have always had my interest and are also a great challenge. For instance the thin sheet of glass which makes up the glaze surface of a pottery piece, when magnified will show the glass bubbles what are frozed back when the glaze was molten. Within this layer of glaze are many other layers made up of minerals, some take different position because of the molecular wt., and reflect light in different colors, as a prism would for its own wavelength. Easy to explain, but complicated to see happening.
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, Jul 17 2010, 1:10 AM EDT
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