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Sculpture Marathon – with Bruce Gagnier
Drawing and modeling in clay are practiced from the live model to learn the abstractions of the
plastic idea. Knowledge of how to describe the human figure is practiced in relation to this
goal. The elements of the clay sketch as seen in classic examples from the past are studied in
relation to technique and spontaneity as well as vision. The form qualities of the human are
discussed in response to the experience of the human figure in various poses. Drawing is
practiced in the short sketch and the sustained sketch.
The technique of modeling small sketches in clay from perception of the human figure is taught
for four of the eight hours a day divided into two sessions. The sessions are four hours long.
The first two hours are devoted to drawing from the model. Some of the work in clay is kept
for firing in the kiln. Power point presentations and visits to the Metropolitan Museum of Art
will help students relate their studies to the tactile language of modeling in clay as seen in the