The Magic of Paperclay Sculpture

collier2018
Michele Collier
Iron Oxide Samples

Description

Tuesday, April 23  5-7 pm  |  Demo & Orientation, Open to Public  |  Theater Studio
Wednesday and Thursday,   April 24 & 25  |   Workshop  |  Theatre Studio|

Michele Collier has developed an intuitive sculptural path with an incredibly versatile medium. In this workshop you will learn to explore the expressive beauty of the human form through a unique paperclay process working from slab to sculptural form. For sculptors with experience this is a game changer, for those with no experience it is a wonderful place to begin. No knowledge of anatomy, sculpture or ceramics is needed to fully engage with this workshop.

In slab form, the clay can be twisted, folded, squeezed and torn to mimic the human form. Because of the wicking properties that come from the paper additives, it will easily adhere to itself – no scoring or slipping needed.

We will break some rules and also learn some new ones as you delve into this modern, user-friendly medium. Surface treatment will be discussed and recipe sheets for the stains and oxides will be provided. Michele will demonstrate her unique finishing process on bisque work that she brings with her. Making this an A to Z workshop experience.  Each student will end with two works of about 12 inches in height or length. Firing and finishing of one work is included in tuition.

Payment Options: Students may pay in full or choose the payment-plan option during registration. The payment plan requires a non-refundable $125 deposit with the balance due 30 days before the first day of the workshop.

Michele Collier

Michele Collier

Clay has a high water content. So, when force is applied, it moves. A free-form slab of the stuff can be unruly and willful. My goal as a sculptor is to find that point of agreement between my desires and the will of the clay.

I work to preserve the fluidity of the slab while manipulating it to express the figure. I resist touching the outer surface except in deliberate punctuation marks because I want the clay to appear to take form spontaneously.

Fire makes the piece permanent. It locks in all the glorious imperfections that attended it’s birthing process and celebrates the collaboration of artist and material.

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