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Structurally this is a very stable form with smoothly modelled surfaces. The forms used are blocky volumes which interlock in a dynamic way. This work shows a strong ability to handle form. The interesting body posture is not matched by attention to fine detail. In the time available there has been no attempt to introduce a second creature. | |||||
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A seated man is partially obscured by a static animal. Both elements have been made as flat slabs without recognising the potential for interest when viewed from more than one direction. The grouping is rather static and the story is unclear. Further exploration to show interactions between the two figures would strengthen this work. This work represents a common transition from flat pictorial thinking to solutions which demonstrate greater sculptural understanding. | |||||
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The enthusiastic greeting between man and dog is captured here in a very fluid, expressive manner. It tells the story of a joyous meeting in a direct and spontaneous way. The squeezing and pinching textures evoke delight in the tactile quality of the clay. |  |
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| Attempts to refine the detail would be lost in this work. With more experience the maker may be able to develop a wider range of controlled marks. Dynamic stability is achieved by leaning the two figures together in such a way that the figures adjust to each other. | ||||||
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| A man bends to pat his feeding dog. The stoop of the man's body creates an arch which is echoed in another dimension by the bending dog and the wagging tail. Viewed from all directions the forms create rhythm and interest. | ||||||
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The shapes created between the forms, and the spaces between the arms and legs, are as interesting as the forms themselves. Skills of joining and attention to detail could be achieved with practice in this media. |  |
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This woman and bird sit stably in an enveloping pyramid. The slabÐlike arms create a wall of protection with interesting textures on their inner surface. The limbs lack structural strength at the joints. Features have been stabbed into the clay rather than moulded. The expressive qualities have been achieved by a strong sense of grouping which takes precedence over detail. |  |
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| A clay slab is drawn into for the face, as well as drawn with, in the form of coils. The coiled caterpillar/snake has stripes drawn in coils, some of which spill onto the table surface to form "legs". Potentially this could lift the form slightly from bench level to help create more drama in the interaction. Plaited hair and a draped rolled scarf complete a repertoire of coiled motifs. This common transition approach to modelling/construction follows a child's experience with decorative drawing and results in a typical frontal view. Encouraging the child to view their work from more than one direction while making would help develop a deeper awareness of three–dimensional possibilities. |  |
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