MAKING MARLEY: PART 2

Every figure in this series began life in clay. We’ve discussed in the Pop Sculpture, the importance of working out the various issues posed by a sculpture by working them out in clay. After taking a series of pictures of myself as Marley, reciting his lines as I did so, I found a pose I thought worked well. (I won’t share those pictures of me as some of may have just eaten) I sent a set of pix of the rough clay to my friend and Master Sculptor, Tony Cipriano, who suggested turning his left hand, palm up, instead of the palm down version I had. A subtle difference, but an important change that helped balance an accusing finger with a open gesture of generosity. With the clay done, I made a series of waste molds, cast waxes and started the finish work.