Gia
 

Folks, she's done! (Although she was done sometime last month.)

Gia is a second commissioned terracotta bust in a series of three adorable kids, of a young family I know. Her brother Mike (seen here) , preceded her by three years as a portrait bust; but the general commissioned idea is to catch all three siblings between the ages of three and four years.

The progress of this subject was seen over several months in the Works in Progress section of this Forum, as there were some delays in getting her completed just right. Working with kids of this age is admittedly a challenge, as they squirm and stay mobile all the time; it's catch as catch can when they are in a cooperative mood. And yes, these busts have to be sculpted largely from life; photography references just don't provide the three-dimensional data needed.

Gia began life sized, but as you know, the clay shrinks as it dries and undergoes a firing, so I suppose she is 12 percent less than life size now. I deliberately limited the firing to a bisque stage to minimize changes. She ended up a very faint rosy pink, and then I applied a protective coat of beeswax from Gamblin, which provides a nice translucent sheen making her seem even more human.

To add to the conversation, I will include a few photos of this piece from various angles of perspective. One can never get enough images of a sculpture!

Garth

Four more:

Garth,

As you know from the WIP section, I think this is wonderful. She seems too full of motion to be made of clay! Thanks for including so many views of her. Each one is a revelation, revealing, and so different from the others. Obviously the real way to see it is in the round, but this is the next best thing and offers exciting glimpses of it's 3-D impact. Magnificent!

Garth,

She is beautiful. I have seen many portrait artists who have made the jump to sculpture and wonder if you would share the challenges sculpturing a piece such as this present, in comparison to a portrait.

Garth

I couldn

Garth,
You know how much I enjoy seeing your work - particularly the 3D stuff! I eagerly await the unveiling of sibling #3. Hopefully, the last of the series will be a piece of cake in comparison. Third time's a charm, you know.

Hi there Garth,

Wow, she is so beautiful. That's like poetry to my soul.

Garth,
it's lovely just like she is. You have caught her softness and energy in a daring pose and I think that the bust compliment her brothers very well.
You also seem to use your painters eye when sculpting. I like the gentle transitions from one form to another. Sculpted forms have a tendency to look sharper, just like in paintings, when looked at from a distance.

Garth
AS if you don't baffle us enough with your paintings, now your just showing off!!!!

This is an amazing piece, my friend, and a big accomplishment.
Best
Tony

I'm with Tony... as if it wasn't enough for you to blow us away with your paintings, you come along and show us this. I especially love the little gesture with one raised shoulder. So much like a coy little three year old!

Thanks everyone!
 

Dear Alex, Enzie, Carlos, Heidi, Bonfim, Alan, Tony, and Michele,

Wow, I am late to respond: I really appreciate all your kind remarks and praise!

To be perfectly honest, Gia was an adorable terror to sculpt! Already keenly aware of her endowment of enviable beauty at such a young age, she presented me with quite a challenge to represent her justly; and not only due to her preschool wiles. Firstly, she could never sit still, as few her age can. Secondly, her wonderful shoulder length cascading brown locks and tresses were impossible to represent in clay, so a wise joint decision was made to gather her hair tied into a bun. Her delecate cool-toned complexion paradoxically transforms into the sultriest Mediterranean tan upon the first rays of summer, contrasting those eyes that flash as sapphires. It can be intimidating and humbling! She'll be one to watch as she grows.

Fortunately, clay is one democratically neutralizing color, and a good portrait representation comes down to nuances of modeling and form in a given light within that singular quality. Exacting description of form becomes all important, especially in young children, because despite the soft rounded cheek forms, there is an underlying bone structure that must remain apparent however subdued it may actually be. And lastly, one constantly looks for ways to distill and simplify the cacophony of disparite forms as one develops and refines the sculpture. Speaking of structure, the notion of employing that coy shoulder gesture came quite naturally during the first sitting. This was just so "Gia".

I am pleased that so many like this piece. That is personally rewarding; thanks, again to everyone!

Garth