Sebastien Fitch, Phd.

The human figure has been a subject of obsession for artists throughout the ages. Whether as religious icons, totems, portraits, philosophical musings, erotica or simply attempts to objectively study our physical selves, the human figure has been and will always be a recurring theme within the artistic cannon.

The sculptures in this series seek to express the duality which exists between the solidity of our physical selves and the ephemeralness of our existence. The initial impression of emaciation that comes from their lean physicality is the product of a long process as I seek to condense, rather than eliminate, the volume of the figure in space. The result is that their physical presence seems to take up more space than their volume would indicate. Each square centimeter of clay has been worked and reworked countless times over a period of hours, days and weeks; its final shape is just one of a multitude of forms through which it has passed before finally being left alone, whether finished or abandoned.

 

First sculpted in natural clay on a metal armature, the resulting object is only the first step in the process that leads to the finished artwork. The properties of this medium are such that it quickly shrinks and breaks apart if left to air dry. It is therefore necessary for a mould to be made of the initial object so that an identical replica can be cast; such is the accuracy of a successful mould that even as minute a detail as a fingerprint imbedded in the clay will be transferred to its cast.

Once hardened, the resulting piece is removed from the mould and hand painted using multiple coats of metallic acrylic paints and washes in order to bring out its surface textures.