The best way to understand the human anatomy is to empathise with it. Existing sculptures in the studio and our own observations of the body serve as illustrative material. Each participant first models a large human figure in a hollow structure and also has the opportunity to work on small sculptures. While working we focus on the anatomy and figure statics, but always keep an eye on the emotional expression of a position. Standing, sitting or lying figures will be created that have the human body and its gravity as their subject. Mythological themes can also play a role. The experience and skills acquired help us to organise the work more freely as the course progresses.
The course is designed in such a way that the sculptures can be taken away in a leather-hard condition so that they can be easily fired. There is a pottery school in Ticino that takes orders for firing in one of their kilns. If you wish to fire there, the sculptures can be up to 60 cm high and 80 cm wide. Larger works can also be fired in parts. If you have a kiln near where you live, it makes sense to find out how big the kiln is there and bring that information with you to the class.
I think there is an analogy between clay as a material and the heaviness of the body. Through self-awareness, I have been able to experience the sensuality of beautiful body shapes while modelling. I would like to pass this idea on to other people who are interested in the human body.