with each stride and phase of movement on the horse’s
body. Slow motion video is also a great way to study how
goo resonates with motion, how it ripples, jiggles and
distorts in synch with the nature and force of the horse’s
movement.
literally—and communicates the mass and movement of
the animal in ways a strict technical expression can fail to
convey. In doing so, we’ve gone one step closer to capturing “living realism” in our clay, expressing this lovely
animal more completely and faithfully.
Then turn around and attempt to decipher and identify So, until next time, ooze in that glorious goo!
goo in photos. This type of training can train us about goo
very quickly, better enabling us to imbue it into our clay.
In fact, we’ll discover that goo is a whole new level of
About the author
understanding that deepens our appreciation of equine
anatomy and lends interest to our sculpture.
Conclusion
Anyone can apply anatomical charts and diagrams to
copy the anatomy faithfully into sculpture. That is easily
done with a bit of discipline and gumption. But it takes a
new kind of understanding to mimic the life of that anatomy, to capture and reinstate the fleshy, rippling, gooshy
nature of living flesh. Indeed, an anatomy chart is one
thing, but living flesh is entirely another.
It’s the understanding of goo that helps us transcend the
technical by adding character, moment, and life to that
anatomical base. It brings the moment to the surface—
Sarah Minkiewicz-Breunig
is an artist specializing in
equine sculpture in ceramic and resin. The story
from the animal’s point of
view is what captivates her
and compels her hands to
shape the clay.
You can learn more about
Sarah and here work at her
studio blog:
mink-studios.blogspot.com
Corbett Saddles
model horse tack by Erin Corbett
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www.corbettsaddles.com