SCULPTURE AND PAPERCLAY/A Hands-on Workshop with lan Gregory

摘要

Sculptor Ian Gregory's expression was uncharacteristically serious as he explained what he hoped students would learn during his three-day workshop. Students participated in Hood College's "Sculpture and Paperclay" workshop in Frederick, Maryland, ready to wield their cameras and notebooks as sponges to soak up the veritable waterfall of information and new ideas. Amid laughter and lectures, few expected to absorb philosophy along with techniques for sculpture and the properties and use of paperclay. By the end of the class everyone's skill at infusing life into sculpture had increased exponentially. Creating good karma in sculpture involves a blend of suspending internal and external rules, fearlessness in trying new things, and taking the time to notice details. In ceramics, as in any aspect of life, we tend to acquire a lot of rules. Rules tell us how a kiln should be fired; how thick a slab should be rolled; or how slowly a sculpture should be dried. Most of these rules are meant to help us accelerate the learning curve and avoid pitfalls. However, these rules can hem you in, not only blocking out other avenues of experimentation and problem solving, but also making you afraid to try new things without a guide. The very first hour of class, English ceramist Ian Gregory told students to ignore all the rules they have learned because rules are only meant as a guideline and there are always exceptions. Gregory answered questions about thicknesses or lengths with his own question: "How long is a piece of string?" Gregory wants students to understand that the solution depends on the project, and that everyone is capable of making decisions based on their knowledge and observation.