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LONDON LONDON!

five years: it opened in 2005, right at the beginning of May, when I was leaving for New York, where I was then two months and where I re-started my artistic career took a course in engraving.
Now, as in NYC in 2005 and 2006 in Tokyo, I face a new move: I was in London last night, I reached GianLuca, which was relocated here for work from April until July. I resist and resist to Milan because of the sculpture course, but last week I had already tried to go to the English moors, but because of the Icelandic volcano and its cloud killjoy, my flight was delayed and so I left Milan yesterday morning.

Here in London we live in the heart of the city, metro station "Monument", in a residence that I vaguely remember the one where we lived in New York, only the view, instead of giving up a beautiful park, is severely restricted the brick walls of the house next door, which Dister from our windows two meters as the crow flies.
Not bad, both at home and I'm not willing to stay!
Even today, despite a bit 'tired, I went around. Before and, for me, the canonical stage: Art Supplies store in Charing Cross Road, just behind Trafalgar Square. I bought a new stock of pencils and other things that will experience in the next few days (Sennelier pastels in this case, never used before but very attractive for their beautiful saturated colors).
Until Wednesday in Milan, I worked with a copy of the clay model: now the work is located in a semi final stage, in the future (when I return to Milan in ten days) will form in the plaster, but by the time I are a necessary stop to pause for reflection.

work until 28 April:

In recent days I seemed to run dry, modeling: unplug and spend some 'time in another country I hope you will find the right vision to finish the job and, perhaps, make sense. Already Today I started looking for inspiration, I visited the National Portrait Gallery and contemplation of plaster busts coated in black bronze, bronze busts coated in white, and salt and salt of portraits and self carbonated me much!
There is also a Henry Moore exhibition at Tate Britain who go on pilgrimage in the coming days, which will add a new visit to the British Museum, to review the Parthenon frieze. Henry and I are Fidia gracious!

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strolling

For the past three weeks I'm working on a clay figure depicting the model Claudia. The work is progressing and regressing, progressing sometimes even regressing, sometimes leaps forward, sometimes reveals some insight, and sometimes' as deaf as a bell out of tune.
Porto patience, grit my teeth in front of the frustration in times of stagnation, where models, and models are always the first point, I praise if I think I hit it the tension of the posture, then I will lose 'to change it.
Last year I happened to see the movie "The mystery of Picasso, where Picasso was working on his movie while taking pictures for continuous construction and destruction, reaching a peak of beauty that satisfies him and urged him to continue to seek to amend, overwrite. Every now and Picasso looked toward the room and smiled, as if to say: "I care if I destroy, I always have time to paint, the next step will be 'different and better." Here, for my courage in this process I try to keep in mind that constant metamorphosis, in the belief that finding, after each moment of stalemate, a new and better balance.
Just to keep the memory of all these steps, not having a cameraman who films available ^ ^, I picture the progress of work at the end of each day's modeling.

April 14:


April 15: I added the base and started sketching away


April 20: we added the full armor for the arms, resulting in readjustment of the proportions of this study:


April 21: The left arm has taken shape, and the right 'still only sketchy


And still not' over!
Meanwhile, when the model off but the lessons are finished, I apply it to other works, such as:

coated with graphite and water - after a careful restoration of holes and defects forming - chalk with the face of Alessia I did in January:


work on a new portrait, this time male and bust, my colleague Desmond course (they are the first draft):


pose as a model for other colleagues for portraits, and finally draw.

pay for this tour de force pledge on the evening when I get home and fall asleep with the lights on, but then the next morning I wake up full of energy and thought only to return and resume work in the classroom 47. More 'energy you spend, the more' gains, that's true!

What Makes My Tailbone Burn

CLAUDIA's BODY - MAKING OF WORK

Today work began. A couple of hours of posing and modeling, the rest of the time of the day 'but in the past ringworm and rebukes by the professor, who at times seems insatiable (the base of the wood work, in particular, has attracted criticism varied , so I had to redo it or change it significantly at least four times ...) Anyway

, I feared worse: to copy from the truth of a body with clay and not 'too complicated: in fact, a good armor already solved' 40% of the work setting, with clay and then 'as if they designed it. And if there are also previous studies to guide the eye pencil, modeling becomes very pleasant, almost more 'likely to draw in pencil on the paper.

The copying process of modeling with clay is to build two profiles called "dime" (shapes), one front and one side, which intersect and create four quadrants. The profiles describe the edges and filling in the quadrants of the body is quickly obtained the first outline of the body, what you see in these photos.

Tomorrow we will continue with the clay, then follow the corrections of the prof .... hopefully good!

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NEW SCULPTURE TO THE TAPES OF DEPARTURE

In the last two weeks (except Easter) the sculpture course we are working on a new job: being studied by our students and 'the body of the model Claudia.
Professor of Sculpture has chosen a pose for her, decided the job size (one meter) and made us a model to portray it 'more' it 'not as if they were to prepare the project to build a Home:
front right side



back

left


luckily nothing plant =) Once
finished designs, we proceeded to build the basis for further reinforcement and modeling clay. The armor, in particular, and 'quite difficult to put together, since you have to cut iron bars of a certain diameter, smartellare to bend the laying of the second model, nail them to the base and secure them with wire.
The armor has already ended for me 'its dignity' of work (but not in the prof.)

Finally, we had to prepare the space for action: moving easels and tables and other tables stacked to reach the right height work.

Tuesday 'we begin to shape, always taking as reference the model (which will continue' to keep laying in the middle of the classroom), but will guide us the designs that we have already 'done. In practical design and live in 3D on the clay.
the face of the green and red glasses and the bells of "Avatar"!

Pokemon Emblem Ragnarok

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Days fervent and active, moving, new jobs and beginning of the ebb and flow of thoughts and energy.

Vigevano, March 29: the exhibition "Sculpture Young" ended. We went to pack up and withdraw the work.


End of March, Milan: from rain, wind, hail and sometimes some impromptu burst of sunshine, spring begins!


Milan. Work is ongoing to prepare for a new work of sculpture: drawings from the true model's pose, which we will draw a chalk up about one meter. In the foreground of my picture "face" of the model, the second floor in the work of a colleague of my loft. Be the designs of the back and left and right profiles of the model. Started the armor for the modeling work with clay.


From March 31 the Academy is closed one week for Easter break: I take this opportunity to work on new designs in the study (the famous 100 that I have to produce for examination ...), along with my three colleagues Cristina Matthew and Paula. The two tables are my area of work, hanging on the wall are the work of Paola, which stands for degree in painting.


3:04 April, Mantua. Easter brief visit to the depths of Mantua, to my parents 'house, which I visited for a while'.


and the upcoming weeks will be even more 'lively!