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Sculpture Marathon – IN-PERSON: Experiments Between Seeing and Making with Jilaine Jones
(No class Sunday, September 7)
Course full, email jmcdaniels@nyss.org to join waitlist.
Course Description
This Marathon will work in RELIEF, primarily with papers, clay, and plaster. Relief has a dimensionality bridging sculpture and painting. There will be an installation in the studio(s) as source: objects, space, bodies, of equal significance. A progression of physical approaches will navigate ways to organize and feel what is seen, sidestepping what is more of habit, expected, or too conscious of the critical stance. The motive of this Marathon is to hold, even protect, a space to experiment and to intuitively invent with some abandon, with materials and one’s inner experience—optical and physical—with the outer context. Our discussions will focus on, analyze, and appreciate what the work in progress is telling us about material analogies and how we can catch ‘unawares’ deep and direct motivation for why we make art.
Course Outline
Throughout the ten days, response to the installation will happen through prompted experiments based on basic principles about what is seen and what is felt – these will correlate with processes and materials. The processes include, generally working against the wall or easel, collage with papers thin to thick (including cardboard), clay over board, plaster both direct and used for quick mold making processes. Some additional materials include cloth (burlap etc.), wirecloth, and wood, these will be introduced towards the end of the first week.
The second week of the Marathon will evolve from the group directions for approach and process to developing an individual series. The concept of experimentation will be continued as a challenge but through specific individual direction by the instructor.
Throughout the Marathon, related image discussions of relief, drawing, sculpture, and painting, from the past to more currently, will be presented. There will be intermittent group viewings and discussion of work in-progress (this will include two or three evenings); and daily discussions of work-in-progress individually with the instructor.
