I love the opportunity of going deeper into my study. This semester I am looking at non local phenomenon, consciousness and the brain as it relates to my sculpting the deceased. It is fascinating! I am also researching the senses. Touch of course being one of my favorite senses. I must thank my fellow student who turned me on to the Larry Dossey’s book. Here is some of the information on my books for this past month. This next month it appears I’ll be reading a lot of journal articles.
* Dossey, Larry. Healing Words. New York: Harper Collins, 1993.
The author of this incredible book is not new to publishing. Dossey has written over ten books, Healing Words was his fourth book published. This Texas physician has gone to great lengths to introduce the idea that prayer has an affect on our health. Though the idea doesn’t seem new today, during the time of publishing it was. Dossey goes much further than the introduction of prayer, he also discusses “nonlocal phenomenon” as it pertains to health and consciousness studies. Non local being the affects of something that is not in direct relation to the body.
Three eras of medicine are introduced through Healing Words. Era one (1869-1950) is based on the period where things have an affect on the body such as traditional medicine, drugs, homeopathy (etc.) and is still used today. The second era (1950- present developments) deals with the mind/body or consciousness affects on the personal body. Era three (developmental stage) deals with the bridge between persons and healing, as in prayer. This bridge is where the term nonlocal stems from.
This book was very important to my study as it helped to solidify, in a scientific documented way, the affects of “psychic empathy” that takes place between my clients and myself. There are even examples given of studies that seemed to transcend time-(present studies in consciousness that affect past outcomes). Healing Words is a great stepping-stone for further research into consciousness and the affects of the unconscious on the process of sculpting the deceased.
* Faraut, Philippe & Charisse. Portrait Sculpting: Anatomy & Expression in Clay.
New York: PCF Studios, 2004.
Though much of the instructions on sculpting such facial features as mouth, nose, eyes and ears that are found in the book Portrait Sculpting: Anatomy & Expression in Clay can be also be found in other instructional books this book does offers a bit more. The book contains sixty-five different sculptures and over 550 photographs filled with expressive portraits that capture more than a likeness but movement and intrigue.
Faraut also gives wonderful examples of creating a rubber mold for casting bronze or plaster sculptures. His techniques can save an artist a good deal of time. Some techniques were new to me and will be utilized in my next mold-making project.
The section on age progression is helpful. The physical characteristics of aging is not something that can be found in most sculpting or art anatomy books. The section is short, but interesting.
The author is a student of nationally known forensic artists Betty Gatliff. He offers a section on sculpting a skull and adding muscle structure to the face as learned through these studies. This teaches readers an important element of sculpting in clay- clay sculpture is created by adding mass as found in superficial muscles and bone and not created by removing or subtracting as in sculpting in marble.
I was especially intrigued with the forward in this book written by Richard McDermott Miller who poses the question, “Is there a gene for the making of figurative art?” Those who work in figurative art rarely work in any other areas. The figure and the desire to sculpt people seem to possess the artist’s entire life and work. I look forward to examining this thought further as it pertains to my own life and study.
* Greeves, Susan and Collin Wiggins. Ron Mueck. London: National Gallery, 2003.
A fine artist, Ron Mueck’s background was originally in the television and film modeling industry, where he worked on such movies as Labyrinth. Asked to exhibit his work at the National Gallery in London, this book documents the art associated with this exhibit. Considered a hyperrealist his work is described as, “The most flawless illusion of reality yet achieved.” Each sculpture is sculpted in clay and then cast in silicon rubber, which gives the finished art the texture of real skin. In the sculpture Dead Dad created in the likeness of Mueck’s own deceased father, and created two-thirds life-size, Muek used his own hair, plucked from his head and then inserted into the rubber to give the realism of a hair follicle with real hair. Those examining the works of Mueck look on with what is referred to “gruesome fascination.”
Though the artwork of Mueck compared to my own are quite different I am intrigued by his use of materials and his keen eye for details and precision that I also use to bring life to my creations. Mueck succeeds in doing this not only in his hyperrealist style but also emotionally.
* Heller, Sharon. Too Loud, Too Bright, Too Fast, Too Tight: What to Do If You Are Sensory Defensive in an Overstimulating World. New York; Harper Collins, 2002.
Though Heller’s title Too Loud, Too Bright, Too Fast, Too Tight: What to Do If You Are Sensory Defensive in an Overstimulating World appears to be written for those would are hypersensitive. The book is a wonderful documentation of all the senses with many citations of research.
Heller wrote the book not only as a developmental psychologist but also as a person who suffers from hypersensitivity. She describes the differences between some people’s nervous system that cause hypersensitivity in one sense or another. She also documents treatments or a “sensory diet” to help individuals overcome their sensitivities.
This book fueled my intrigue for the study of the senses. One particular study on Dyslexia fascinated me. It examines dyslexia not as a neurological problem but at a vestibular processing problem (inner ear and balance). The treatments using this diagnosis proved to have wonderful results.
As I examine the senses using books like Too Loud, Too Bright, Too Fast, Too Tight: What to Do If You Are Sensory Defensive in an Overstimulating World it helps me to decipher some of my own sensory defensive techniques and to see how some of these hinder or help with my ability to sculpt, especially the sensitivity that is used in creating posthumous sculpture.
* Kidd, Sue Monk. The Secret Life of Bees. New York: Penguin Putnam, 2003.
The secret life of Bees is a novel about a young girl of 14, Lilly Owen, who lives with her father on a peach farm in Georgia in the 60’s. Lilly’s father is less than understanding of Lilly and borders on abusive. Memories of her mothers death through a shooting when she was four years old haunt her as she fears that she may have been the cause of her own mothers death. A colored woman, Rosaleen who gets in trouble on her way to register to vote, cares for Lilly. Afraid for Rosaleen’s life, and distraught with her own situation, Lilly helps Rosaleen escape. The two of them set off to Tiburon, South Carolina, a destination that the young girl feels lead to by one of the only things left behind of her mothers, a picture of a black Madonna with the words, “Tiburon, South Carolina” written on the back. Throughout the novel the bees are an allegory for Lilly’s own life and adventures as she seeks her mother through the black Madonna picture.
The novel was on the publishers weekly bestseller list in 2005 and has won an award from the South East Library Association in the same year. The cultural setting the time frame, and the bee allegory enhances the entertainment value of the book while the strength exhibited by the women in Lilly’s life weave a strong feminine bond filled with intrigue.
