CHRIS DUNCAN
VISUAL ARTS DEPARTMENT
SCULPTURE 1
AVA 130 SYLLABUS
Description: SCULPTURE 1 is an introduction to the basic elements, techniques, and history of sculpture. We cover both additive and reductive processes including plaster casting, wood construction, and stone carving. There is an emphasis on the development of form and structure particular to each process. Class work and discussion are supplemented with slide talks, a museum field trip, and talks by visiting artists. Extensive work outside of class is required. There will be in class critiques of each project.
WEEK 1 Introduction to course goals; discussion of materials and vocabularies to be covered
Project 1: Cast plaster relief, simple clay mold
Materials: wood, clay, plaster
12 x 12 x 12"
Positive and negative space
Composition,pattern, form, depth, surface
Materials: wood, clay, plaster
In the studio, select four objects that are roughly "hand held" size. On paper provided, draw the objects. Cut out the drawings and, in a 12" x 12" box drawn on another sheet of paper, arrange them so that they form the outline of a new, composite form. Make three composite drawings in this way. Select the most interesting one.
Using materials provided, make a wooden box that's 21/2" deep and 12" square. Fill it with clay, leaving 3/4" at the top. Smooth the surface of the clay.
Transfer the template selected to the clay surface. Dig in to the surface to begin to create a mold. Consider depth, surface texture, overall configuration. Remember that the more material is removed, the more prominent the forms in the positive cast will be.
When the mold is complete, seal the edges with clay and pour plaster (refer to instructions for mixing plaster). Mold can be removed after one hour.
WEEK 2 Review 1st project; class review and critique
Project 2: Life cast collage
Materials: alginate, plaster wrap, clay, plaster
Use the alginate to make three or four molds of various sections of your body - feet, hands, facial features, etc. Each alginate mold must be backed up with a plaster bandage shell. Use each mold to produce multiple casts of the body part. It should be possible to get two or three casts per mold before the mold breaks down. When you have assembled a supply of possible parts (at least five) consider ways to connect them to form a single image. Parts might be joined to one another with more plaster and plaster bandage, to form composite units; they might be embedded together in a relief tableaux; they might be placed in a base of poured plaster to form a kind of still life or self portrait.
SLIDE TALK: Figure, fragments, and collage - Surrealism
WEEK 3 Continue life-cast collage
Review 2nd project; class review and critique
WEEK 4 Still life
Project 3: Still Life
Materials: clay, plaster
Working from a still life set-up in the classroom, we will model a sculptural equivalent in clay, emphasizing inter-relationships of form, space and surface. If successful these pieces can be cast in plaster.
SLIDE TALK: Geometry and Cubism
WEEKS 5 - 6: Continue & Review Still life Project
Field Trip – Storm King Art Center or Mass MOCA
WEEKS 7 - 8 Structure, space, surface...in that order?
Project 4: Structure, space, surface...in that order?
Materials: Wood (3/4" x 12" sticks); dowels; glue guns; wood glue; paper
Using about 100 of the 12" sticks (cut from 96" lengths) build the tallest (or largest, widest) possible structure. The structure should be assembled using both a glue gun and dowels; 25% of the joints must incorporate dowels. This structure may be uniform in shape or it may include a variety of forms. One half of the structure will be covered with thin paper or cardboard to create an enclosed volume. You can improvise with the material; you may want to select a particular object or form as a model to help you visualize the piece.
Your structure should be sturdy and self supporting.
CONSIDER: The relationship of line to volume.
Structure and form (two different things).
The interior space of the piece...its relationship to the external shape.
Monolithic vs. fragmented or collaged form; multiple forms attached together to make a unit.
Development of the piece through the process of making it, through an imposed idea, or both.
SLIDE TALK: Constructed sculpture
8th - 10th Week: Stone Carving
Project 4: Stone carving
Geometric and biomorphic form
Subtractive methods
Select a piece of soapstone. Each piece weighs approx. 20 - 25 lbs. Consider existing size and form. Begin to develop an image that will incorporate both a geometric and a biomorphic form (consult definitions). Though you can expect the process of carving and the given characterisitics of the stone to dictate (or guide) some of your decisions, try to visualize the form BEFORE you begin carving. The finished sculpture is due for critique on the last day of class.
SLIDE TALK Stone Sculpture
VIDEO Isamu Noguchi
Last class: Final Project review plus STUDIO CLEANUP