In March 2023, I travelled to Italy to study portrait sculpture at The Florence Academy of Art. Under the guidance of classically trained sculptors Sanne Van Tongeren and Thor Larsen, I spent two weeks sculpting the portrait from life.
Our instruction followed the "Drawing in Space" method developed by Robert Bodem at The Florence Academy of Art.
For the first few days, we worked only on the profile, keeping the clay very thin and ensuring the profile was correct before building the head outwards. During this time, there was a lot of looking. We would move backwards and forwards in the large studio space to observe the model and the sculpture on equal terms. By comparing mesurements, making marks and changing them we could be sure the profile was in place before moving on. This was also teaching us to train our eye and trust our memory.
As the head was being built up to life size, we were still checking the profile, searching the high points and continuously measuring from the markers and our centre line. There was an emphasis on anatomical correctness as well as achieving a likeness of the model.
Sanne and Thor encouraged us to look for the uniqueness of the face, search out the characteristics and to be excited to see curves and movement.
When I felt I was finishing my portrait, I noticed that I wasn't looking at the model as much. After so much observation, I had all the information I needed. I realised there comes a point when you leave the model, the sculpture is now solely in the hands of the sculptor. It belongs to the sculptor.
Walking the corridors of The Florence Academy of Art is like stepping back in time.... except that the spacious studios are beautifully lit, air conditioned spaces with the sound of the passing trains heading off into the Tuscan countryside only adding to the romance of it all!
Plaster casts of famous artworks are there for reference as well as écorché models and anatomical diagrams. We were advised not to work on our sculpture without the model present and photos of the models were taken on the last day of the workshop. This is because the method we were studying says that we should work only from life and observation. Just three measuremnets were taken from the model (height and width of the head and ear). We were encouarged to take regular breaks to come back to our sculpture with fresh eyes so we could see what needed to be changed or modified. We sculpted with Terra Rossa di Montelupo clay from the Arno River and only two tools, one metal tool to draw and make marks on the clay and one wooden modelling tool. Other than that we used our greatest tools, our fingers. To test our observation and memory we were asked to draw the model's profile at home at the end of each day, an exercise which became surprisingly acurate after a day or two! The method was a completely different way of making sculpture for me. I benefitted because I was willing to forget everything I thought I knew about making sculpture and embrace a different way. It will stand to me in every portrait I ever make.
The Alumni Gallery shows us all what we can aspire to and includes works from Eran Webber, Maudie Brady and Mitch Shea.
We were divided into groups of only two or three people and each group had two models so there were many different portraits to display at the end of the workshop. Participants came from all over the world such is the reputation of The Florence Academy of Art. Our instructors, Thor Larsen is pictured kneeling (far left) and Sanne Van Tongren, (centre, looking left!)
Sincere thanks to the Arts Council of Ireland, Cavan County Council Arts Office and supporters of my work for allowing me this wonderful opportunity.
