ISDAY 2020 Virtual Sculpture Exhibition
International Sculpture Day (ISDay was held on Saturday 25 April 2020) and we celebrated the big day with a virtual sculpture exhibition of recent works produced by our most advanced students and those at the start of their sculpture journey, curated by tutor and sculptor, Pam Foley.
Sculpture student profiles
Roughly in the year 2000, I started a course at Sunningwell School of Art in life sculpture and never looked back.
I have studied Sculpture for 8 years with Pam Foley and taken part in the Sunningwell Sculpture Group’s two exhibitions at the Turrill Garden in Summertown Oxford in the spring of 2017 and 2019.
Working with clay is very absorbing and banishes any worries or tensions you may be experiencing.
Focused exclusively on life models, I find it the best way to express myself, to reveal a story, a feeling or just a person.
I love the life class – it’s the high light of my week. The human body is so interesting in its diversity.
The presence of the live model in a class is a great gift and I think that the relationship between the model and the person attempting to sculpt his or her body is what makes or breaks the work produced.
I have been a sculpture student for some years under the brilliant guidance of Pam Foley, a noted British-American sculptor.
I became interested clay modelling from life over three years ago and have increasingly found it rewarding as a means of developing my work.
After a very long absence., a serendipitous turning found me in Pam Foley’s
workshop sculpting the human form. Oh happy days!
I find sculpture more interactive than drawing and painting, if its
big enough you can get in to a piece! These first few pieces are just the first as I plan to continue on my sculpture journey.
I am passionately interested in muscular form, movement and power, and try to catch in my subjects their vitality and personality without compromising anatomical integrity.
The experience of working with clay to model the human form is essentially sensual; the feel of shaping the clay in response to a perception of the model.
Through the 1990s Wilbur Heynes trained in Oxford, Florence, Bristol, and London, before working as an assistant to a British sculptor working in France.