Mastering Hand Building Techniques at Wendy Lawrence's Workshop 2025 part one

Day One - Sculpture One

Creating the Form

Wendy had prepared the clay on the previous monday. Whole blocks had been opened and roughly covered with plastic. It was still quite firm. Wendy uses Valentines clay, PF540, which is very groggy.

I started with a solid block of clay which is to be shaped into the desired form. This initial step is crucial, as it sets the stage for the entire sculpture.

Once the clay was shaped, a bow harp wire was used to slice the block in half, starting from the far end and moving toward the body. Maintaining contact with the table during this process ensures a clean cut. After this step, I had two symmetrical pieces.

Shaping the forms

Next, I selected two long cardboard tubes of the same size. These tubes acted as a support structure for the clay halves. Each half of the sculpture is carefully lifted and placed on a tube. A mallet was then used to gently curve the clay around the tube, adding a dynamic element to the sculpture that brings it to life.

To maintain its shape, the top of the sculpture was dried partially with a heat gun until it was firm enough to lift without bending. This step is essential for moving on to the next phase. While one piece dried, the other was also tended to, ensuring both halves were equally prepared for joining.

Joining the Pieces

Once both halves were adequately dried, they were turned over, and the insides were dried to the same extent. Propping up the undersides is important to prevent any collapse. They were placed back on a sponge, concave side down.

A tool created a flat surface along the sides of the pieces, prepping them for joining. I then used a fork to hatch both sides, followed by a light spray of water to create its own slip. This technique is vital for forming a strong bond between the two halves.

The halves were pressed together. A mallet was used to press the sides together firmly. This step is critical for achieving a seamless look in the final sculpture, ensuring a sturdy yet nuanced final piece that can stand on its own.

Finalising the form

After the two halves were joined, the sculpture was placed upright to dry. Meanwhile, I prepared another piece of clay, shaping and cutting it slightly larger than the top and bottom of the sculpture. Edges of this new piece were treated with the fork and spray technique to ensure a strong bond upon attachment.

Excess clay was trimmed from the bottom, and the mallet was used to refine the top into a more aesthetically pleasing form, making it easier to carve the next day.

The seams along the sides had blurred during the joining process, so a ruler was held alongside the sculpture to slice away any excess. Refining the taper with a mallet ensured the final piece was both visually appealing and structurally sound.