Tracy H Sugg, Sculptor

Illustrated Bibles

Mon, 29 Dec 2025 12:00:10 GMT

In this podcast of the Sculptor's Muse, Tracy shares some of her favorite illustrated Bibles - a fitting subject as we are looking forward to the New Year.

Christmas Diptychs

Mon, 22 Dec 2025 12:00:04 GMT

Tracy discusses Diptychs in this podcast of the Sculptor's Muse. She shares how this historic element is used in her decorations for Christmas.

Peacocks at Christmas

Mon, 15 Dec 2025 12:00:01 GMT

In this podcast of the Sculptor's Muse, Tracy discusses the symbolism of Christ in the peacock and how she displays this Christian symbol in her Christmas decorations.

Paintings at Christmas

Mon, 08 Dec 2025 12:00:00 GMT

In this episode of the Sculptor's Muse, Tracy shares how paintings can be decorated for the Christmas season.

Sculptures at Christmas

Mon, 01 Dec 2025 12:00:49 GMT

For the celebration of Christmas time, Tracy shares her decorations for the sculptures in her home. A festive episode of the Sculptor's Muse.

Jewelry in Sculpture

Mon, 07 Jul 2025 11:00:00 GMT

For this episode of the Sculptor's Muse, Tracy discusses the inclusion of jewelry in sculptures.

John William Godward "The Signal"

Thu, 03 Jul 2025 11:00:00 GMT

Godward followed in the footsteps of the style and content of Sir Lawrence Alma Tadema. Part of the "Marble School," Godward continued to paint in this style until his death in 1922. In this week's Art Review we will look at his painting "The Signal."
Image used Creative Commons License

Sculpture in Jewelry

Mon, 30 Jun 2025 11:00:00 GMT

In this podcast of the Sculptor's Muse, Tracy discusses the element of sculpture in jewelry.

Eddie Havens, the jeweller Tracy refers to in the podcast, can be contacted through his website Arkansas Jewelry Studio.

Jean-Jacques Caffieri "Alexis-Jean-Eustache Taitbout"

Thu, 26 Jun 2025 11:00:00 GMT

Caffieri was a French Neoclassical sculptor. Most of his portrait busts were of the actors and playwrights of the Comedie Francais (as he was an avid theatergoer), however for this week's Art Review we will look at his portrait of a French General Consul during the reign of Louis XV.
Image used Creative Commons License

Jean-Baptiste Carpeaux "Jean Leon Gerome"

Thu, 19 Jun 2025 11:00:00 GMT

Carpeaux was a sculptor who worked during the Romantic style of art history. His portraits were epitomized this era, and in this week's Art Review we will look at his portrait bust of one of his painter friends.
Image used Creative Commons License

Color Sculpture with Texture

Mon, 16 Jun 2025 11:00:00 GMT

In this Sculptor's Muse podcast, Tracy discusses how sculpture can be 'colored' through the use of surface texture.

Peter Paul Rubens "The Entombment"

Thu, 12 Jun 2025 11:00:00 GMT

This is the second week in our review of paintings by Peter Paul Rubens, a Baroque painter. In this Art Review we will look at his painting of 'The Entombment."
Image used Creative Commons License

Patinas for Stoneware

Mon, 09 Jun 2025 11:00:02 GMT

In this episode of the Sculptor's Muse, Tracy discusses her favorite patinas for stoneware sculpture.

Peter Paul Rubens "David Meets Abigail"

Thu, 05 Jun 2025 11:00:02 GMT

Peter Paul Rubens, a Baroque painter that produced works throughout Europe. Rubens is one of my favorite painters from this time period and we will look at two of his paintings over these two weeks. This week's painting is "David Meets Abigail."
Image used Creative Commons License

Artists as Storytellers

Mon, 02 Jun 2025 11:00:01 GMT

In this Sculptor's Muse podcast, Tracy discusses the role of the artist as a Storyteller.

Albert-Ernest Carrier-Belleuse "Model for a Monument to Alexandre Dumas"

Thu, 29 May 2025 11:00:02 GMT

Carrier-Belleuse was a French Neoclassical sculptor whose style was described as more 'Baroque'. He created many monuments for Napoleon III, and in this week's Art Review we will look at one of his models.
Image used Creative Commons License

Masters Studies

Mon, 26 May 2025 11:00:00 GMT

This podcast of the Sculptor's Muse discusses the value of creating a study from a Master's work of art.

Nicolas Lancret "Dance before a Fountain"

Thu, 22 May 2025 11:00:01 GMT

Lancret was a French Rococo painter who mastered the fete galante genre. In this week's Art Review we will look at his painting "Dance before a Fountain."
Image used Creative Commons License

History of Halos

Mon, 19 May 2025 11:00:01 GMT

This Sculptor's Muse podcast is an excerpt from Tracy's lectures on Art and the Church. She will be giving a brief history of halos depicted in art.

Giovanni Battista Foggini "Study of Laocoon"

Thu, 15 May 2025 11:00:04 GMT

Foggini was a Late Baroque sculptor who worked for the famous Medici family. In this week's Art Review we will look at his copy of the well known antique sculpture of "Laocoon."
Image used Creative Commons License

How do you Learn?

Mon, 12 May 2025 11:00:01 GMT

In this podcast of the Sculptor's Muse, Tracy discusses various ways in how we can continue learning as artists.

The book Tracy refers to by Virgil Elliot The Traditional Techniques of the Masters

Alessandro Magnasco "Christ and the Samaritan Woman"

Thu, 08 May 2025 11:00:01 GMT

In this week's Art Review, we will look at an Italian painter who lived and worked during the Baroque and Rococo eras, creating his own unique combination of the two artistic styles. Alessandro Magnasco and his painting "Christ and the Samaritan Women"
Image used Creative Commons License

Bases for Sculptures

Mon, 05 May 2025 11:00:01 GMT

In this podcast of the Sculptor's Muse, Tracy shares her inspiration for creating ornate bases for sculptures.

Francesco Antonio Franzoni "sketch of a fireplace overmantel"

Thu, 01 May 2025 11:00:01 GMT

Though known as a restorer of antique sculptures for the Vatican, Franzoni also created artwork for the politically illustrious Braschi family. We will look at his clay sketch for an overmantel in this week's Art Review.
Image used Creative Commons License

Increased Perception

Mon, 28 Apr 2025 11:00:00 GMT

In this episode of the Sculptor's Muse, Tracy shares her insight on how to increase your perception for creating artwork.

Claude-Joseph Vernet "Calm at a Mediterranean Port"

Thu, 24 Apr 2025 11:00:00 GMT

Vernet was an accomplished painter that worked in the era that turned the corner from the Neoclassical to the Romantic styles. We will look at one of his maritime paintings in this week's Art Review.

Image used Creative Commons License

Interview with Larry Willard - Woodworker

Mon, 21 Apr 2025 11:30:00 GMT

For this Sculptor's Muse, Tracy interviews a fellow artist: Larry Willard, a local woodworker. Tracy and Larry discuss his artisan work for Wartrace Baptist Church.

Unknown Early Roman Sculptor "Curraised Torso"

Thu, 17 Apr 2025 11:00:00 GMT

For this week's Art Review, we will look at a sculpture from Roman antiquity and discover possible clues about who the sculptor was portraying.

Image used Creative Commons license

The Importance of Structure

Mon, 14 Apr 2025 11:00:00 GMT

In this Sculptor's Muse episode,Tracy discusses the importance of structure in creating the human figure.

Franz Xaver Winterhalter "Princess Leonilla"

Thu, 10 Apr 2025 11:00:00 GMT

Winterhalter was a Neoclassical portrait painter sought by the royalty and aristrocracy of Europe. In this Art Review we will look at his portrait of Princess Leonilla.

Image used Creative Commons License

Watercolor Field Sketches

Mon, 07 Apr 2025 11:00:01 GMT

In this Sculptor's Muse podcast, Tracy shares her experience with learning a new technique - field sketching through watercolor.

Jean Raon "Jupiter"

Thu, 03 Apr 2025 11:00:00 GMT

In this week's Art Review, Tracy will be discussing a bronze sculpture by a court sculptor to the French King Loius XIV, Jean Raon.

Image used Creative Commons License

Lamb of God Sculpture

Mon, 31 Mar 2025 11:00:00 GMT

In this episode of the Sculptor's Muse, Tracy discusses the creative inspiration behind her sculpture of The Lamb of God.

This is the blog post she refers to on Thoughtfully Decorating for Easter.

Sebastiano Conca "Adoration of the Shepherds"

Thu, 27 Mar 2025 11:00:00 GMT

Following last week's Art Review of a Northern European painting of the Adoration of the Shepherds; this week we will look at the same theme by a Southern European painter, Sabastiano Conca.

Image used Creative Commons License

Interview with Dr. Matthew Miller - The Theology of Beauty - Part 4 of 4

Mon, 24 Mar 2025 11:00:01 GMT

The fourth part of a four part series The Theology of Beauty - an interview with Dr. Matthew Miller. Tracy and Matthew discuss Beauty in Theology and its relation to Art and the human experience.

Nicolaes Maes "Adoration of the Shepherds"

Thu, 20 Mar 2025 11:00:00 GMT

These next two weeks, we will be looking at two paintings depicting the Adoration of the Shepherds. This week will be from a Northern European painter and next week a Southern European painter; we will discuss the differences between the two.

Image used Creative Commons license

Interview with Dr. Matthew Miller - The Theology of Beauty Part 3 of 4

Mon, 17 Mar 2025 11:00:00 GMT

The third part of a four part series The Theology of Beauty - an interview with Dr. Matthew Miller. Tracy and Matthew discuss Beauty in Theology and its relation to Art and the human experience.

Augustin Pajou "Minerva"

Thu, 13 Mar 2025 11:00:00 GMT

In this week's art review, we will look at another sculpture "Minera" by French sculptor, Augustin Pajou.

Image used Creative Commons License

Interview with Dr. Matthew Miller - The Theology of Beauty - part 2 of 4

Mon, 10 Mar 2025 11:00:00 GMT

The second part of a four part series The Theology of Beauty - an interview with Dr. Matthew Miller. Tracy and Matthew discuss Beauty in Theology and its relation to Art and the human experience.

Augustin Pajou "Ideal Female Heads"

Thu, 06 Mar 2025 12:00:00 GMT

In this Art Review, Tracy will talk about a pair of beautiful 'Ideal' female heads by French sculptor, Augustin Pajou.

Image used Creative Commons License

Interview with Dr. Matthew Miller - The Theology of Beauty - Part 1 of 4

Mon, 03 Mar 2025 12:00:00 GMT

The first part in a four part series: The Theology of Beauty - an interview with Dr. Matthew Miller. Tracy and Matthew discuss Beauty in Theology and its relation to Art and the human experience.

Art Review - Murillo "Two Women at a Window"

Thu, 27 Feb 2025 12:00:00 GMT

Murillo was a Spanish Baroque painter and in today's Art Review we will discuss his painting "Two Women at a Window."

Courtesy National Gallery of Art, Washington

Art Review - Houdon "Louise Brongniart, Aged Five Years"

Thu, 20 Feb 2025 12:00:00 GMT

Jean-Antoine Houdon was a French Neoclassial sculptor. In this week's Art Review we will look at his delightful sculpture of "Louise."

Image courtesy of the Art Renewal Center©, (ARC) www.artrenewal.org

Sculptor's Muse - Art of Patience

Mon, 17 Feb 2025 12:00:00 GMT

In this week's Sculptor's Muse, Tracy discusses the Art of Patience.

Decorative Arts

Sat, 15 Feb 2025 17:35:31 GMT

In this episode of the Sculptor's Muse, Tracy discusses the arena of Decorative Arts.

Art Review - Murillo "Return of the Prodigal"

Thu, 13 Feb 2025 12:15:00 GMT

Bartolome Esteban Murillo was one of the greatest Spanish Baroque painters. In this Art Review we will look at his famous painting "The Return of the Prodigal."

Courtesy National Gallery of Art, Washington

Sculptor's Muse - Sculpting Tools and Smock

Mon, 10 Feb 2025 12:00:00 GMT

In this episode of Sculptor's Muse, Tracy will share with you her favorite sculpting tools, as well as the history of the sculptor's smock; including unique features she created for her own smock.

Click here for Philippe Faraut's sculpture tools

Read my blog on the Sculptor's Smock

Art Review - Carrier-Belleuse "Bust of Murillo"

Thu, 06 Feb 2025 12:00:00 GMT

Albert-Ernest Carrier-Belleuse was a French Neoclassical sculptor. In this Art Review we will look at his sculpture of Bartolome Esteban Murillo the famous Baroque Spanish painter.

Image courtesy of the Art Renewal Center©, (ARC) www.artrenewal.org

Sculptor's Muse - Sketching at a Museum

Mon, 03 Feb 2025 12:00:00 GMT

For this weeks Sculptor's Muse, Tracy shares her insights and tips on sketching at Art Museums.

Art Review - Gentileschi "The Lute Player"

Thu, 30 Jan 2025 12:30:00 GMT

Baroque painter, Orazio Gentileschi was one of many artists influenced by the work of Caravaggio. In this Art Review we will discuss that influence in his painting of "The Lute Player"

Courtesy National Gallery of Art, Washington

Sculptor's Muse - Influenced by Rien Poortvliet

Mon, 27 Jan 2025 12:00:00 GMT

For this episode of Sculptor's Muse - Tracy shares the deep influence that Dutch artist, Rien Poortvliet had on her work as a student and as a professional artist.

Interview with Poortvliet 1994 All his books are amazing, these two are my favorites: He was one of Us Noah's Ark

Also check addall for used books by Poortvliet

Sculptor's Muse - Influenced by Dr. Sam M. Gore

Fri, 24 Jan 2025 12:00:00 GMT

Dr. Samuel Marshal Gore was a huge influence in Tracy's life personally and in art. He poured into her as his sculpture apprentice for eight years; helping her to shape her philosophy about art and her walk with Christ in a beautiful pattern that shaped the rest of her life. He and his wife Margie, were lifelong friends of the Sugg family.

Read about Tracy working with Dr Gore's daughter, Judy, to finish the uncompleted sculpture of the sleeping disciple after Dr. Gore's passing. Tracy's son, Colt, was the model

Art Review - Molin "Knife Wrestlers"

Thu, 23 Jan 2025 12:15:00 GMT

In this Art Review we will look at this complex sculpture of the "Knife Wrestlers" by Swedish Neoclassical sculptor Jean Peter Molin.

Image courtesy of the Art Renewal Center©, (ARC) www.artrenewal.org

Sculptor's Muse - Interview with husband, Robert III

Mon, 20 Jan 2025 12:00:00 GMT

In this week's Sculptor's Muse I will be interviewing my husband, Robert III; talking about his background as a potter and the adventure of working together on large art projects.

Sculptor's Muse - Light

Mon, 13 Jan 2025 12:00:00 GMT

Sculptor's Muse - Light. In this episode Tracy discusses light in the studio and how light can be used in exhibiting finished works of art.

Art Review - Laurana "Female Portrait Bust"

Thu, 09 Jan 2025 12:15:00 GMT

In this Art Review we will look at a Renaissance sculptor, Francesco Laurana and his approach to portraiture of that era.

Image courtesy of the Art Renewal Center©, (ARC) www.artrenewal.org

Sculptor's Muse - Painting & Sculpture - Sister Arts

Mon, 06 Jan 2025 12:00:00 GMT

In this episode of Sculptor's Muse, Tracy discusses the age old 'paragone' or feud: which is supreme? Painting or Sculpture?

Art Review - Claesz "Still Life with Peacock Pie"

Thu, 02 Jan 2025 12:00:00 GMT

Happy New Year! We will start this year off with a 'visual feast.' Pieter Claesz was a 17th century Dutch painter and we will discuss his intriquing still life painting that features a Peacock Pie.

Image Courtesy of the National Gallery of Art, Washington

Sculptor's Muse - Art of Changing Seasons

Mon, 30 Dec 2024 12:00:00 GMT

In this episode of Sculptor's Muse Tracy talks about the art of changing of seasons as we look to the new year.

Hans Rookmaaker (any of his works are incredible, but my favorites are Art Needs No Justification, Modern Art and the Death of a Culture, Our Calling and God's Hand in History. You can find reprints on Amazon or search used books on addall

You can read online: G.K. Chesterton, The Everlasting Man

Art Review - Lucas "Nativity" Ivory Relief Sculpture

Wed, 25 Dec 2024 12:00:04 GMT

Merry Christmas! Todays Art Review will look at 19th. British sculptor Richard Lucas and his delicately rendered "Nativity".

Sculptor's Muse - Christ Child Sculpture

Mon, 23 Dec 2024 12:00:00 GMT

For this year's Christmas Eve's Eve episode of Sculptor's Muse, Tracy will discuss the inspiration behind her Christ Child sculpture.

Sculptor's Muse - Symbolism in the Nativity

Mon, 16 Dec 2024 12:00:00 GMT

In this episode of Sculptor's Muse - Tracy discusses the history of the Nativity scene and the symbolism within the pieces displayed.

Art Review - Mengs "Adoration of the Shepherds"

Thu, 12 Dec 2024 12:30:00 GMT

Anton Raphael Mengs painted this beautiful painting of The Adoration of the Shepherds. His lifetime followed the end of the Rococo and saw the rise of the Neoclassical style in art.

Image Courtesy of the National Gallery of Art, Washington

Sculptor's Muse - Symbols of Christmas

Mon, 09 Dec 2024 12:00:00 GMT

Sculptor's Muse - Symbols of Christmas. Tracy discusses the Christian symbolism behind much of the decorations used for Christmas.

Art Review - Madonna & Child Icon

Thu, 05 Dec 2024 12:30:00 GMT

In this Art Review, we will be looking at Byzantine icon of the Mother and Child.

Image Courtesy of the National Gallery of Art, Washington

Sculptor's Muse - History of the 12 Days of Christmas

Mon, 02 Dec 2024 12:00:00 GMT

For this weeks Sculptor's Muse, Tracy discusses the history of the 12 days of Christmas, and the various celebrations of Christmastide.

Art Review - Veronese "Annunciation" painting

Thu, 28 Nov 2024 12:30:00 GMT

In this week's Art Review, we will look at this beautiful Renaissance "Annunciation" painted by Veronese and his workshop.

Image Courtesy of the National Gallery of Art, Washington

Sculptor's Muse - Trompe L'oeil Painting

Mon, 25 Nov 2024 12:00:52 GMT

For this Sculptor's Muse, Tracy will discuss what it is that makes a Trompe L'oeil painting a 'fool the eye' experience. On February 27, 2025 the Art Review will feature Bartolome Esteban Murillo's painting of "Two women at a window" a trompe l-oeil technique brilliantly executed.

Art Review - Hagenauer "Model of a Pieta"

Thu, 21 Nov 2024 13:00:00 GMT

In this Art Review we will be looking at a terracotta model of a "Pieta" by Neoclassical sculptor, Johann Baptist Hagenauer .

Image courtesy of the Art Renewal Center©, (ARC) www.artrenewal.org

Sculptor's Muse - photography vs models

Mon, 18 Nov 2024 12:00:00 GMT

In this week's Sculptor's Muse, Tracy will discuss the pros and cons of using photography and live models.

Art Review -Marochetti "Mary Magdalene with angels"

Thu, 14 Nov 2024 17:03:39 GMT

In this Art Review, we will be looking at a complex figural sculpture by Baron Marochetti, "Mary Magdalene with angels."

Image courtesy of the Art Renewal Center©, (ARC) www.artrenewal.org

Sculptor's Muse - Kinds of Art

Mon, 11 Nov 2024 12:00:01 GMT

Sculptor's Muse - Kinds of Art. Tracy will discuss various 'kinds' of art within the Fine Arts realm.

I suggest looking for a copy of Great Works of Art and what makes them great by F. W. Ruckstull on addall.

You can read my blog about Thoughtfully Preparing for Easter here.

Art Review - Gilbert "Victory leading St George" sculpture

Thu, 07 Nov 2024 12:30:00 GMT

Alfred Gilbert was a 19th c. British sculptor. In this Art Review, we will be looking at a model he created "Victory leading St. George"

Image courtesy of the Art Renewal Center©, (ARC) www.artrenewal.org

Sculptor's Muse - Interview with son, Robert IV

Mon, 04 Nov 2024 11:30:00 GMT

Sculptor's Muse - an interview with my youngest son, Robert IV: how growing up in an artists home of artwork and film making with his siblings has influenced his interest for inventing. Trail Life USA

Art Review - Ricci "Memorial to Admiral Sir Clowdisley Shovell, 1725"

Thu, 31 Oct 2024 11:30:00 GMT

In this weeks Art Review we will look at the interesting history of the 'fantastical' painting of "Memorial to Admiral Sir Clowdisley Shovell, 1725" painted by Sabastiano Ricci and his nephew Marco.

Image Courtesy of the National Gallery of Art, Washington

Sculptor's Muse - Definitions related to Sculpture

Mon, 28 Oct 2024 11:00:00 GMT

There are many terms in the field of sculpture, in this episode of Sculptor's Muse Tracy will discuss and define some of the most common of them.

The book in the podcast is: Versailles The Spirit of the Park with photographs by Jacques de Givry and text by Jean-Pierre Neraudau. I bought it in France, I suggest looking for it on addall

The podcast references armatures in my The Making of Sleeping Beauty, you can find that video on my website page Videos.

Art Review - Carpeaux "Wounded Love" sculpture

Thu, 24 Oct 2024 11:30:00 GMT

Jean-Baptiste Carpeaux was French Neoclassical sculptor. In this Art Review we will be looking at his marble sculpture of "Wounded Love."

Image courtesy of the Art Renewal Center©, (ARC) www.artrenewal.org

Sculptor's Muse - Caryatid & Atlantes

Mon, 21 Oct 2024 11:00:00 GMT

For this week's Sculptor's Muse, Tracy discusses Caryatids and Atlantes and shows her own versions of these historic architectural sculptures.

Photos: Caryatids of the Erechtheum in Acropolis Museum Athens

Ingresso Palazzo Banca Commerciale di Torino

Alexander Roumega, Public domain, via Wikimedia Commons (caryatid and atlantes)

Globetrotter19, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons

Art Review - Vlieger "Estuary at Day's End"

Thu, 17 Oct 2024 11:30:00 GMT

This week's Art Review looks at 17th c. Dutch maritime painter Simon de Vlieger and his painting of "Estuary at Day's End"

Image Courtesy of the National Gallery of Art, Washington

Sculptor's Muse - Flying Babies? Cherubs? Putti?

Mon, 14 Oct 2024 11:00:00 GMT

In this episode of Sculptor's Muse Tracy will solve the riddle of why did those artists include all those cute flying babies in their works.

Located in the north staircase of the Library of Congress Thomas Jefferson Building's Great Hall. USCapitol, Public domain, via Wikimedia Commons

Bartolomé Esteban Murillo, Public domain, via Wikimedia Commons

Giovanni Battista Salvi da Sassoferrato, Public domain, via Wikimedia Commons

Art Review - Brunelleschi "Sacrifice of Isaac" sculpture

Thu, 10 Oct 2024 11:30:00 GMT

Filippo Brunelleschi was a Florentine Italian Renaissance sculptor and architect. We will be looking at his bronze bas-relief of the "Sacrifice of Isaac"

Image Courtesy of the National Gallery of Art, Washington

Art Review - Jan Brueghel the Elder "River Landscape"

Tue, 08 Oct 2024 15:21:29 GMT

Jan Brueghel the Elder was a Dutch painter in the early 17th c. In this Art Review we will take a closer look at his painting of a "River Landscape."

Image Courtesy of the National Gallery of Art, Washington

Art Review -Boulogne "The Cheat"

Tue, 08 Oct 2024 15:20:45 GMT

Baroque painter, Valentin de Boulogne was heavily influenced by Caravaggio, as we shall see in our discussion of his painting "The Cheat" (also called "Soldiers Playing with Dice and Cards"

Courtesy National Gallery of Art, Washington.

Art Review - Angelico & Lippi "Adoration of the Magi"

Tue, 08 Oct 2024 15:19:38 GMT

For this Christmas season's Art Review, we will be looking at a beautiful early Renaissance tondo (round) painting by Fra Angelico and finished by Fra Filippo Lippi.

Image Courtesy of the National Gallery of Art, Washington

Sculptor's Muse - Interview with son, Colt Sugg

Mon, 07 Oct 2024 15:31:27 GMT

Sculptor's Muse - an interview with artist's son, Colt Sugg: growing up modelling and then helping with armatures, tools, building the current studio and keeping everyone in the family laughing through it all.

Trail Life USA CrimsonRoseProductions

Art Review - Willem van de Velde the Younger "English Warship..."

Thu, 03 Oct 2024 11:00:00 GMT

Willem van de Velde the Younger was a Dutch Baroque maritime painter, we will be looking at his work "English Warship Firing a Salute."

Image Courtesy of the National Gallery of Art, Washington

Sculptor's Muse - Fresh Eyes in the Studio

Mon, 30 Sep 2024 11:00:00 GMT

For this week's Sculptor's Muse - Tracy will discuss the importance of keeping 'fresh eyes' when creating your artwork and tips on how to accomplish that.

Art Review - Bernini "David"

Thu, 26 Sep 2024 12:00:00 GMT

Gianlorenze Bernini was an Italian Baroque sculptor. His sculpture of "David" is one of the four 'great' sculptures of David in art history.

Image courtesy of the Art Renewal Center©, (ARC) www.artrenewal.org

Sculptor's Muse - Process of Lost Wax Bronze Casting

Mon, 23 Sep 2024 11:00:00 GMT

For this episode of Sculptor's Muse, Tracy explains step by step the process of Lost Wax bronze casting by following the creation of her monument "Rachel Weeping" from the original clay to the completed bronze .

Art Review - Agasse "Romulus, Remus and their Nursemaid"

Thu, 19 Sep 2024 11:30:00 GMT

We will be looking at the work of Jacques-Laurent Agasse, a Swiss Neoclassical painter: "Romulus, Remus and their Nursemaid."

Image courtesy of the Art Renewal Center©, (ARC) www.artrenewal.org

Sculptor's Muse - Creating a Studio

Mon, 16 Sep 2024 11:00:00 GMT

Sculptor's Muse - Creating a Studio. Tracy will be discussing various considerations when building your own studio or modifying your current one.

Art Review - Alessandro Algardi " St. Mary Sister of Martha" sculpture

Thu, 12 Sep 2024 22:34:41 GMT

Baroque Sculptor, Alessandro Algardi and his sculpture of "St. Mary sister of Martha"

Image courtesy of the Art Renewal Center©, (ARC) www.artrenewal.org

Sculptor's Muse - Art Resources

Mon, 09 Sep 2024 11:00:00 GMT

In this episode of the Sculptor's Muse, Tracy will discuss various resources that are available to artists today.

Art Renewal Center Philippe Faraut Sculpture Instruction

Traditional Oil Painting Techniques by Virgil Elliot

Hans Rookmaaker Great works of art and what makes them Great by Ruckstul l

I also do a lot of searches for used books on addall and have found many of these at a better price than amazon.

List of approved art schools by ARC

Art Review - Van Der Weyden "St George and the Dragon"

tracy@tracyhsugg.com (Tracy Sugg) — Thu, 05 Sep 2024 22:28:56 GMT

This week's Art Review covers an Early Netherlandish painter Rogier van der Weyden and his Reniassance painting of "St. George and the Dragon."

Image Courtesy of the National Gallery of Art, Washington

Sculptor's Muse - Interview with daughter, Crimson Rose

Mon, 02 Sep 2024 17:38:08 GMT

Sculptor's Muse - an interview with my favorite and only daughter, Crimson Rose. Discussing what it was like for her to grow up modelling, living amidst the creation and research of monuments and paintings, and how that has influenced her own career in film making. CrimsonRoseProductions

Art Review - Andreas Achenbach - "Storm clearing on the coast of Sicily" painting

Fri, 30 Aug 2024 00:50:44 GMT

In this Art Review we will be discussing Andreas Achenbach "Storm clearing on the coast of Sicily" painting.

Andreas Achenbach, Public domain, via Wikimedia Commons

Sculptor's Muse - Tea Time in the Studio

Mon, 26 Aug 2024 20:55:50 GMT

In this episode of Sculptor's Muse, Tracy gives you the best reasons to stop and take a few moments to relax, and refresh your creativity with tea time in the studio.

Art Review - Bernt Notke 'St George and the dragon' sculpture

Fri, 23 Aug 2024 00:38:14 GMT

In this Art Review we will look at Swedish sculptor Bernt Notke and his late medieval sculpture of 'St George and the Dragon'

CC BY-SA 4.0

Public Domain

Creative Commons Attribution-Share Alike 2.0 de

Sculptor's Muse - "The Source" sculpture

Mon, 19 Aug 2024 19:33:23 GMT

In this weeks Sculptor's Muse, Tracy will discuss the symbolism of her clay stoneware sculpture, "The Source"

Art Review - John W. Alexander "Ray of Light" painting

Fri, 16 Aug 2024 00:43:30 GMT

In this Art Review we will discuss John W. Alexander's "Ray of Light" painting.

Image courtesy of the Art Renewal Center©, (ARC) www.artrenewal.org

Sculptor's Muse - Interview with Glass Artist, Tammy O'Connor

Mon, 12 Aug 2024 19:13:34 GMT

For this Sculptor's Muse, Tracy will be interviewing glass artist Tammy O'Connor of Vitric Vision s and sharing a glimpse of their collaborative work together.

To view the finished 'water' of The Source, click here.

To view our Glass and Sculpture series (thus far) click here or view them in the Gallery

Art Review: Algardi "Executioner" sculpture

Thu, 08 Aug 2024 16:39:47 GMT

Allesandro Algardi was a Baroque sculptor, in this review we will look at his terracotta model of the "Executioner" for his sculptural grouping of "The Beheading of St Paul"

Public Domain

Image courtesy of the Art Renewal Center©, (ARC) www.artrenewal .org

Credit: The Hermitage

Sculptor's Muse - Symbols of Crosses (excerpt)

Mon, 05 Aug 2024 19:21:00 GMT

For this episode of Sculptor's Muse, Tracy gives an excerpt from her lecture on the various symbols of the Cross.

Time-Lapse: Patriotic Sunset Sculpture

Wed, 03 Jul 2024 11:00:00 GMT

To celebrate our Nation's history - enjoy this time-lapse of a sunset on the sculpture "Truth Proclaimed."

Meanwhile in the studio:

More to come this summer, but for now, enjoy an "art smile!"

TimeLapse - Sunrise in the Studio

Thu, 20 Jun 2024 18:07:00 GMT

A dramatic time lapse video condensing four hours in 50 seconds as the sun rises across my recently completed self portrait in the studio.

Underneath on the table you will see a small clay sketch (bozzetto/ebauche ) for the larger sculpture I am currently working on titled "The Source."

Exciting News! Marble blocks have now arrived in New York and will soon be on their way to the studio! More to come in future blogs about this exciting commission. #TrowandHolden #BotticinoClassicoMarble #SacredSculpture

I leave you with an art inspired smile!

When a Daughter sculpts her Sculpting Mother

Tue, 27 Feb 2024 12:00:00 GMT

Working on a self portrait inspired by a work I sketched at an exhibit Myths and Monuments, my daughter, Crimson Rose was called in to assist. Creating portraits of other people is one thing, a self portrait has its challenges as I cannot look at myself, except via a mirror and photographs. Crimson Rose was able to grasp the minute changes in the planes of the facial muscles and picking up the tools she has seen me use her whole life, began to 'bring to life' my own self portrait.

Inspired by this portrait by St. Gaudens. I have sketched and studied the work, especially the architectural surround the portrait was placed.

Loving a challenge, I am currently working on creating a similar surround for my self portrait. The photo below shows the start of the architectural elements. The self portrait will be placed against this panel.

As I continue to work to hone my craft, I am constantly working on studying the masters and copying their works as a way to understand their methods and techniques in a deeper way. Emile Boisseau is a French sculptor of the Beaux Arts movement in the late 19th c. Below is my master's study of his work "In Defense of the Family," I omitted the plough as I was concentrating on studying the figure.

More exciting news to come this year, so keep an eye on your email for future blogs.

In the meantime, here's an "art smile"

Thoughtfully Preparing for Easter Sunday

Tue, 15 Mar 2022 16:28:00 GMT

How many times have I heard, "We go 'all out' decorating and celebrating Christmas, but as Christians, we should REALLY celebrate Easter more." I think both are important, but I do see their point. This year I intentionally gave a lot of thought to 'celebrating' Easter more and what that might look like. The problem is mainly for Protestants - with no liturgical calendar, Easter Sunday 'pops up' on them unawares as the date skips around on the calendar, unlike Christmas with its set date. You go to church one day and realize it's Palm Sunday (maybe) and then you rush home to get out your Resurrection Eggs and think about what the children and yourself should wear to church on Easter Sunday, and plan a big dinner or where you should go out to eat. Then POOF - Easter Sunday is over, life goes on.... until Christmas.

Now as an Evangelical Christian myself, this was my 'modis operandi' for many years. However, being an artist with a love for art history and Church history and for things of Beauty - this year I wanted to more 'thoughtfully' prepare for Easter Sunday. (Let me pause here to state that I think referring to Easter as Resurrection Sunday is a wonderful thing! It gives a greater meaning to what we, as Christians, are celebrating. However, for the purpose of this blog post and as our family has called it Easter Sunday for years I will refer to Resurrection Sunday as Easter Sunday.)

My intent on writing this blog is that, perhaps, these ideas of mine may be inspiration for yourself. Everyone has their own tastes, but you some of what I have done may spark some ideas for own home. The problem with the complaint "...as a Christian, we should celebrate Easter Sunday more" is that (especially Protestants) we don't have any guidance or direction. Any "Easter decorations" available are kitschy chicks and bunnies and colored eggs. You may find a few things at the Christian book store - perhaps a crown of thorns... or polyresin mass produced versions of the lion and lamb. I could find very few things that deeply reflected my love for the meaning of Christ Resurrection and what that means as Salvation from God available to all who would believe. Additionally - my home is historic, built in 1852. I wanted to make the decorations accent the historic beauty of the house and vice versa. For Christmas, my home abounds with Victorian inspired decor much of which I have made. What could I do for Easter Sunday?

So I approached the project as I would any of my art commissions: Research and following my personal Arcanum: Truth and Beauty

In Church history (and Christian Art History) there was a wealth of inspiration. First, the observance of Lent. Now this is not a biblical observance, but merely a tradition. That being said, I cheerfully 'gleaned' from this tradition. Lent is a time before Easter Sunday that is used to prepare one's self for the celebration of the resurrection of Christ. This was augmented by fasting, giving and spending more focused time on prayer and reading the Bible. Interestingly, this is also the purpose of Advent: the four weeks before Christmas. Historically, all the decorating and celebrations of Christmas didn't even start until Advent ended on Christmas Day! You were fasting and focusing up until that time and then Christmas Day marked the 'first day of Christmas' with twelve (or more) days of celebrating to FOLLOW. Well, that was then - in our culture now it would be nigh impossible not to decorate and enjoy the festivities during all that Advent time between Thanksgiving and Christmas. But now you know - the twelve days of Christmas started with Christmas Day - (I'm sure you'll sleep better with that bit of knowledge! ha!)

Back to Lent: though a tradition of man, I personally believe that anytime I can deny my flesh it's probably a good thing for me as a spiritual exercise. So I have observed Lent for years. My husband, who comes from a long lineage of Baptist preachers and missionaries has no interest in observing Lent - and we both enjoy celebrating the Resurrection of Christ! So, fasting may not be your 'cup of tea' but there is another thing that Lent does, and that is to anticipate Easter Sunday. Lent starts with Ash Wednesday (the day after Mardi-gras) and continues for 46 days to Easter. So I putting up your Easter Sunday decorations on or around Ash Wednesday will create a 'season' of visual reminders that Easter is a'coming!

So, now that I established the timing or the 'season' for my decorations to be up, I then had to try to create what they would look like and what they would be. Now art historians have this age-old argument when it comes to the 'decorations' found in the churches from the time they were first built up to the present: are the decorations symbolic OR are they merely decorative. I wrote my honors paper on this very subject regarding the Romanesque tympanum above the doors of Barfreston Church - my personal conclusion: BOTH! There are some elements that are obviously symbolic and others that are obviously decorative. It makes me think of the verse in Exodus when God was describing to Moses the priestly garments for Aaron and his sons...

This theme of "glory and beauty" is also repeated in Ex. 28:40. I Chronicles 16:29, and Job 40:10. So I wanted to create these decorations as combination of symbolic and the beautiful. (there is also a place for the 'whimsical' but that will be discussed later .)

Tip #1 - Choosing the Materials

There were obvious symbols that I wanted that came directly from scripture: a crown of thorns was a definite. But then also I wanted a crown of glory. I couldn't find a kingly crown anywhere that didn't make me think of a fantasy movie, so I ended up making my own from lamp banding. Another symbolic element was the nails. I found a blacksmith who forged five heavy nails for me.

Other scriptural references included: palm branches, a tomb, the cross/crucifxion, Christ Glorified/Resurrected, and the linen shroud found by Peter and John. Also there was the symbol of Jesus as the "Lamb of God"

Now for the "Beauty" elements: Easter lilies were a definite! Not in scripture but readily identified with Easter Sunday in our day and time, I also wanted to use a combination of textural elements (as this is my style in sculpture, it spills over into other areas) so I used a rough jute twine, and burlap fabric and ribbon along with damask and satin ribbons. In searching for fabrics with 'crosses' I came upon a treasure trove of 'liturgical' fabrics, ribbons and trims that are available. Beautiful jacquards and damasks with symbolic Christian elements woven into them. Though there are many colors available, I decided on a simple monochromatic color scheme of neutrals and ivories. This was accented by the greens from the palms and Easter lilies.

Another beautiful and symbolic element I added was peacock feathers. Most people today think of the phrase 'proud as a peacock' which is a long standing symbol for that beautiful bird. However, historically there was another symbolism attached to the peacock.... the peacock was one of four symbols used for Christ. (Today we are only familiar with the Lamb and the 'fish' or icthus) In the 11th century, they believed the flesh of the peacock would not rot. Physiologically speaking, the flesh of this bird is extremely dense, and can have a tendency to dry out rather than rot. However, since the Psalms say "the flesh of Thy Holy One will not undergo decay" the peacock became a symbol of Christ. In addition to that, the 'eyes' in the peacock's feathers were used to symbolize the omnipresent Eye of God. Because of these symbols, you can sometimes find a peacock in the rafters of the stable at the Nativity in Medieval and Renaissance paintings. It's always fun to find one!

The last element I wanted was bells - not jingle bells, I use those around Christmas - but small 'church' bells, because the sound and meaning of their ringing is so joyful!

Tip #2 - Create dioramas in areas most seen.

As our family goes about their day to day business, I chose areas in the house they would often pass, and in those areas created dioramas or 'scenes' full of imagery, symbolism and beauty. The following photos are in my foyer. (the portrait is of my four children that I painted as an anniversary gift for my husband years ago, it is 6 ft wide and 5 ft tall) Along the top, I combined burlap material, ivory damask ribbon, palms, Easter lilies, peacock feathers and tassels. This was to balance and frame the diorama below.

The Crucifix is a study of one I had seen at the Louvre by Puget which is one of the most stirring I have seen. I attached it to an old heavy brass candlestick to give it height. The Bible is as old as our house and is open to the crucifixion in John. The crown of thorns and hand forged nails were added, as well as the Lenten roses from my garden. (Keeping fresh flowers through the whole Lenten season is another constant reminder for me to spend a few moments pondering the significance of Christ's sacrifice while I change out the flowers) The antique handkerchief and dried rose petals were added to balance the composition. The lace is some antique lace I found that has the cross and chalice elements on it.

On Good Friday I will veil the crucifix with black drapery, and then on Easter Sunday morning, I will change it out with my study of Christ Glorified (this is a master's study I did from one I researched at the Cloisters museum in New York City - it is a French Gothic style which I was studying at the time.) The crown is changed to a kingly crown (again made from various strips of lamp banding) and the Bible is turned to the reference of the Resurrection.

Incidentally, in that old Bible from 1852 I found an old 'tract'. Obviously this Bible had belonged to some good Baptist! As a nod to my husband's family's missionary work, I placed the tract on my hall tree on top of an antique prayer book cover from France.

Another place for a diorama was my parlor on top of my upright piano.

I draped the sculpture of my daughter with a white veil, symbolic of us as the Bride of Christ. My sons sculpture has a stole (more on this later.) The center diorama was inspired by the Waterford crystal cross that was a gift from a dear friend. I created a backdrop with the burlap fabric, palm and Easter Lily. I added a few antique architectural elements and a bit of liturgical ribbon as well as a royal crown made from the lamp banding. The antique sculpture is from France, deteriorated beyond recognition, it reminds me of the prophecy in Isaiah that Christ would be marred and stricken; unrecognizable.

My favorite diorama is the centerpiece on our dining room table! For years I had wanted a lamb, to symbolize the Lamb of God. However, in my search for a fitting Lamb sculpture, I could find nothing! I realized I would just need to roll up my sleeves and sculpt one myself. I knew I wanted to place the lamb on an ornate base, thus signifying that this particular lamb was a symbol: THE Lamb of God who comes to take away the sins of the world! I could have sculpted a life-size portrait of Christ, but for a dining room table? I felt having a symbolic Lamb of God would be the most appropriate for the space and purpose.

However, having never sculpted a lamb before, my work was cut out for me - back to research. God surprised me with a wonderful blessing - a neighbor up the road had just had lambs and she graciously allowed me to come see (and photograph and measure and hold and cuddle) a wee ram lamb that was three weeks old! I had my daughter along as photographer and my granddaughters came as well - what a wonderful time!

The centerpiece consists of several elements: the Lamb of God. (My husband paid me the best compliment, "I don't see how you were able to create something so cute and so majestic at the same time!") the ornate base which has the monogram of the Alpha and Omega at one end and the Chi Rho at the other. These monograms are 'framed' by a small crown of thorns and small kingly crown. The Crown of thorns is placed behind the Lamb because His work on the cross is accomplished. The Kingly Crown is placed at his head because Christ our King now Reigns at the right Hand of God the Father. The sculpture is placed on a runner I made from liturgical fabric.

One of the rooms in our home is a tete-a-tete room. This is a small room for 'private' conversations or conversations between two or three people at most - basically think of it is a small parlor. My inspiration when we restored the room was Mark Twain's library designed by Tiffany. - blue and gold with accents of dark crimson found in the antique rug. I added peacock motifs on the walls in a soft gold and decoupaged peacock feathers on the woodwork - this small room made a perfect setting for the 'tomb'.

My youngest son, with his engineer mind, creates the 'tomb' every year from rocks. I made a runner from a different liturgical fabric to frame the tomb. On the night of Good Friday we seal the tomb (with sealing wax) and then on Easter Sunday morning, I rise early, move the 'stone' away, place a tiny battery operated light in the back so that light spills out from the tomb, and then as the children come down to see the tomb, inside they discover neatly folded two pieces of linen with the faint image from the shroud of Turin on it and the sudarium. (face covering.) So this particular diorama becomes interactive the few days before Easter Sunday!

Tip #3 - Create accents around the home.

With your focal points of dioramas in place, you can then add accents around the home. Since my home is filled with sculptures - I love 'dressing' them for Christmas, hats, scarves, etc. so with the sacred meaning of Easter Sunday in mind, I decided to place white veils on a couple of sculptures of my daughter that remind us that the Church is the Bride of Christ.

I also made 'stoles' for the menfolk - these are inspired by the priestly stoles you see in liturgical churches today - I created them to symbolize that we are a 'royal priesthood' as believers (as stated in Hebrews). On some of them I placed tassels as a nod to the tassels of the Jewish priests, and on my husband's I placed bells, for the same reason. I also placed a vestment clasp on his stole that has beautiful decorative work and the monogram IHS for In His Service.

In my tete-a-tete room I have some sculpture portraits of my sons and my daughter-in-law. So I placed stoles on two and and then crowns on the other two as we also will one day reign with Christ.

We have five fireplaces in this old home! So I utilized the mantels as places for accents. Using lace created with symbols of the cross, bullion, burlap ribbon and tassels. Also I created 'sprays' made from palms, lilies, peacock feathers, burlap, ribbon and tassels.

Tip #4 - Banner and Bell Rope

In my foyer, across from the portrait of the children, are the stairs. When someone walks into the house from the front door, the eye was easily led to the right with the diorama and large portrait, and I wanted to balance out the composition as a whole, so I placed a banner on the stair wall. The banner is 2ft by 6 ft.

Coming down the stairs, I created another accent with palms and a bell on ribbons, as the children go up and down the stairs I hear the bell tinkle as they tap it on the way. A fun reminder throughout the days of Easter Sunday!

The bell rope was inspired by one I made years ago for Christmas time - a long crimson rope with various sizes of gold jingle bells all up and down it. I hang it in the foyer from the top landing of the stairs. The children would ring it as they passed and now the grandchildren do to! And more often than not, guests can't resist giving it a ring as they walk by. So for Easter Sunday, I created a bell rope using 'church' bells that I stitched onto a beautiful liturgical sheer ribbon that has gold embroidery that shows on both sides.

Tip #5 - Don't forget Good Friday

As Christians, we know the rest of the story of Easter Sunday - however, as I would often tell my children - the disciples didn't know when Jesus was crucified and buried that it wasn't the end of the story. They were scared, filled with sorrow and especially I imagine Peter was 'beating himself up' for denying Christ. It was an empty cold feeling. So to keep that in mind as all aspects of Easter Sunday are represented through the house, I placed a black veil on my 4 ft sculpture of "Truth Denied" and she grasps two of the nails in her hand.

Tip #6 - Pay attention to your door and outside areas.

Though when we entertain guests always come through the front door, the main door our family uses is through my studio. So outside I created a garland of willow, palm and lilies to frame the doorway. Beside the door is a sitting area where I took an old springtime wreath that had small white flowers, and entwined an Easter lily in it. I then added a cross to the top of my other old brass candlestick as an focal point.

Since this is also the area where any packages or deliveries are placed, I like to think that these Christian symbols of beauty bring something to those who deliver them. My husband says "Beauty strengthens the soul" and if ever our family had a motto, that would be it!

Down by the road, I placed a scrollwork cross that I painted white. I set it out on Ash Wednesday and twined in purple ribbon. Most people today know that purple is a symbol of royalty - it is also the symbol for intense emotion and suffering. This is referred to as "passion" (not the passion of romantic emotion.) This is why the week between Palm Sunday and Easter Sunday is often referred to as the Passion week of Christ.

Once Palm Sunday comes, then I will change the ribbon to Palms, then on Good Friday I will use a black drape and on Easter Sunday morning an Easter lily will be added!

This is a beautiful visual message to all those who drive by - that there is something more to Springtime than just baby animals and colored eggs!

Tip #7 - Family traditions and the charm of the whimsical.

God created us with a deep complex appreciation for a variety of experiences. One moment we may want the drama and epic filled drama of good vs evil found in Lord of the Rings - in another moment, we may simply want to enjoy sharing a laugh with our toddler about the antics Peter Rabbit finds himself in. We cannot survive wholly on the big grand epic moments and neither can we on the small funny - what I call 'whimsical' moments - they and all moments in between make up the life we live on this earth. So don't discount the fun and value of memories that are also created when whimsicality is present. With my home now decorated with meaningful symbols celebrating the work and Resurrection of Jesus - I also wanted to include the fun memorable moments our family has shared during this time. For years we have colored eggs, we hide them and look for them and then either made egg salad or the boys will hit them with gold clubs into the woods as a treat for the fox, possum or raccoon in the area. We also blow one egg for each of us that we spend our most artistic time on. We initial and date the bottom and hang these eggs on a 'tree'. Some have sacred symbols, some are just whimsical (like Irish dancing sheep!) but they are fun to look at from year to year.

Since I haven't much room in the rest of house for decorations, I've reserved the kitchen and my studio for more of these whimsical decorations full of fun family memories. I also found one year to my great surprise, Victorian Easter decorations that were reproduced! So I hang them around the studio. I also found a collection of Victorian Easter cards that had been reproduced - so I placed them on top of white velvet bunting - some are sacred some are just fun.

And then, ALWAYS in the middle of Lent is St Patrick's Day! One of the reasons this particular day is so widely celebrated is that the Catholic Church gave it the status of a Holy day - therefore - you weren't obligated to observe your Lenten fast on that day! Party! And let's celebrate one of the greatest missionaries and his work of all time! Patrick! We enjoy sharing the story of St Patrick with our children, and if you want to see a GREAT documentary about Patrick's life and work. Check this out:

https://www.iampatrick.com

So I have a touch of whimsy in the studio the week of St Patrick's Day.

Final Tip: Make it your own.

Each family has their own preferences, their own style and approach to celebrating their Christian Faith. I hope that perhaps some of these tips will inspire ideas for you and your own home, as we all thoughtfully prepare for Resurrection Sunday.

Sculptor's Muse: Unveiling of "Rachel Weeping"

Wed, 21 Jul 2021 14:16:00 GMT

To see a short video with highlights from the event: Click here

For descriptions of the symbolism in the sculpture: Click here

Sculptor's Muse: Work in the Studio

Mon, 12 Apr 2021 18:14:00 GMT

One major facet of the artist is experimentation. Currently I am experimenting with a way to display fired clay sculptures outdoors. The issue is the freeze/thaw effect created when clay sculptures absorb moisture, then that moisture freezes and expands damaging the sculpture. With the current innovative sealers that are available, I plan to 'seal' the sculpture and then apply a patina over that. My goal is to create an outdoor clay sculpture that would be as durable as concrete or stone. Though bronze is 'the' medium preferred for outdoor sculptures, the cost reflects the materials used - so a 'sealed' fired clay sculpture, though not as durable as bronze, could potentially be as durable as concrete or stone - and the cost would be much less than bronze. This would provide a broader range of options for those who collect my sculptures.

The sculpture I created for this experiment is a life-size full figure. My daughter modeled for this allegorical figure, "Truth Proclaimed" which is companion to my earlier sculpture of "Truth Denied." Though the iconic torch is used, the composition was inspired by my research of the early 20th century Beaux Art sculptors; Karl Bitter and Daniel Chester French. The photo shows the sculpture in progress.

I will post updates as the sculpture progresses.

Future posts:

The unveiling ceremony of "Rachel Weeping" the monumental 8 ft bronze figure installed in the prayer garden of St. Richard Catholic Church in Jackson, MS. July 18th at 9:30 am.

New works to be announced: the "Lyrical" sculpture series.

"Beauty Strengthens the Soul"

Wed, 27 Jan 2021 13:00:00 GMT

Artists have a responsibility to humanity. In all eras of history, artwork has been a part of society.

In continuing with my commitment to the task and talent given to me, I will continue creating sculptures and blog posts.

To begin with, if you are on social media and would like to follow me, you can find me on mewe I will be posting about the current sculptures I am working on, as well as featuring videos and sculptures from my website .

My website has undergone a tremendous renovation! Along with a new look, more sculptures have been added as well.

By giving you "Beauty that strengthens the soul" I want to bring inspiration and beauty in the creative substance of clay and bronze. May viewing these artworks give you those beautiful moments of reflection in the midst of your daily lives.

Sculptor's Muse: Masked Monument

Tue, 11 Aug 2020 16:11:00 GMT

Evidently my monument of Gen. Kosciuszko made the cover of a medical journal - looking dashing in a Covid19 mask and "doing his part". This past week I received two magazine journals in the mail from two different friends of mine who are both doctors. Dr. Stanley Hartness, who commissioned the monument, sent me one copy, while Dr. Beverly McMillan, who delivered three of my four children, sent the other copy. Though a picture can 'speak a thousand words', the inset write up about the front cover speaks volumes about the current times regarding Covid19, rioting & destruction of monuments and the history of Gen. Kosciuszko who fought for the freedom of all men. A great acknowledgement to Dr. Hartness and the Journal of the Mississippi State Medical Association . I've included the write up below:

About The Cover "Doing His Part" - A mask cleverly placed on the statue of Kosciuszko's namesake, Polish General Tadeusz Kosciuszko (1746-1817), serves to remind passersby of our "new normal" courtesy of COVID-19. Our cover photo was provided by our longtime JMSMSA Associate Editor Dr. Stanley Hartness, whose vision helped make the bronze monument sculpted by Tracy H Sugg a reality. The statue stands in Redbud Springs Bicentennial Park in downtown Kosciusko. This photo also possesses a timelessness as Black Lives Matter protests have swept the country following the tragic death of George Floyd while being arrested by Minneapolis police officers. These protests have often focused on the removal or destruction of statues of historical figures associated with colonialism and slavery. There has emerged a renewed discussion about what states represent, both in the past and in this current moment. Although Kosciuszko possesses local significance as the namesake of one of central Mississippi's loveliest cities, he also should be remembered by all for his extraordinary contributions to the creation of our country and his passionate early leadership to eradicate slavery. This Polish patriot became enamored with the values of the French Enlightenment and felt the American struggle for independence was the world's great hope for freedom. His military skills included engineering, and he is credited with designing the colonial defenses in some of the Revolution's most critical battles. Thaddeus Kosciuszko (pronounced cuz-CHOOSE-co) became both respected and befriended by many of America's most prominent Revolutionary leaders, whom he held to the highest ideals of equality on the issue of slavery. Thomas Jefferson, perhaps his closest friend, said, "General Kosciuszko, I see him often...He is as pure a son of liberty as I have ever known, and of that liberty which is to go to all, and not to the few or rich alone." He took that freedom and liberty so seriously that he frequently expressed his disappointment with close friends like Jefferson and George Washington for owning slaves. During his service in both the American and Polish revolutions, he employed black men as his aides-de-camp: Agrippa Hull in America and Jean Lapierre in Poland. In May 1798, Kosciuszko composed a will. In it, he gave the entirety of his American assets - $18,912 and 500 acres of land in Ohio - for Jefferson to use to purchase the freedom and provide education for enslaved blacks. The final version called on "my friend Thomas Jefferson" to use Kosciuszko's assets "in purchasing negroes from among his own as [well as] any others... giving them liberty," and "giving them education in trades and otherwise." Jefferson stumbled in executing his friend's will, largely due to his own financial collapse. However, the abolitionist perspective behind this will bestows a moral status upon Kosciuszko as an early voice of American conscience. A historian recently asserted that Koscisuzko was "fighting next to people who believed they were fighting for independence,but not doing it for all. Even before Americans themselves fully came to that understanding, he saw it." - Ed.

Sculptor's Muse: Lovely local article

Sat, 23 May 2020 15:05:00 GMT

This morning I was delighted to find a lovely full page article about my work in our local county paper The Shelbyville Times Gazette.

Sculptor's Muse: Bronze Casting

Sat, 22 Feb 2020 15:47:00 GMT

All bronze sculptures are created from an original sculpture, usually sculpted from clay. In this bronze casting series, I will follow the steps on my 8 ft monument "Rachel Weeping" for St. Richard's Catholic Church in Jackson, MS.

After the sculpture is completed and approved, then the foundry sends a master mold maker to my studio. If the sculpture is small enough, I will take it to the foundry, but for life-size and over life-size figures, the foundry creates the mold on site. The first step for this particular sculpture was removing the bent left arm from the face. Knowing that this would be the procedure, Colt welded the armature so that the arm could be easily removed. This ensures that the mold of the face can be done, as well as allowing the mold maker to create the mold of the entire hand and arm.

After this step, shims were placed in the sculpture to delineate where each section of rubber mold would be. The seam lines have to considered thoughtfully as after the bronze is cast these will be the sections that are welded together. A release is sprayed over the entire sculpture to keep the rubber mold from sticking to the original clay.

The first coat of rubber mold is referred to as the "print" layer. It is the thinnest layer of rubber, its sole purpose is to capture every tiny detail in the sculpted clay.

After the print layer, successive layers of thicker rubber mold are applied to each section. This is done until the sections achieve the desired thickness. Next month, Step 2: The Mother Mold

To see all the steps of this process click here

The Sculptor's Muse: Christmas & Sculpture

Tue, 03 Dec 2019 13:49:00 GMT

The Season of Christmas is the one Holiday that has the greatest connection with sculpture - from Nativity scenes to embellishing your own sculptures with a Christmas flair. We hope you enjoy glimpsing some of the ways we decorate our sculptures at this time of year and wish you all a Beautiful and Merry Christmas!

#sculpture #Christmas #Nativity #ChristChild

Sculptor's Muse: The Art Collector

Tue, 12 Nov 2019 13:15:00 GMT

A person's art collection reflects so much of them, and that is important as many collections are passed down through the family - each generation expanding the collection, adding their own personal stamp. Many art collections of wealthy families have been the beginnings of museum or library collections, which in turn, is a great gift to the public to be able to view the artworks collected by those with discerning taste and an eye for a specific style of art.

My artwork has been in various collections over the years, from civic to private, and I enjoy seeing where and who each sculpture goes to. Though most of my sculptures are in collections in the USA, I do have a few in France and Italy, while last year I shipped a bronze to Australia.

My own personal collection of artwork includes works from various contemporary artists, as well as antique sculptures and paintings - which I love to collect! These not only provide me with a beautiful collection of my own, but also provide art for me to study from as well.

My husband, Robert says "Beauty strengthens the soul" and I consider it a beloved duty to surround our home with beautiful artwork, intentionally collected.

In 2018, I was contacted by Brenda Lavieri. I worked with her for several months creating a sculpture collection for their beautiful home. Brenda has a discerning eye and wanted a Mediterranean theme for her collection. In addition to my sculptures, she collected Italian pottery and hand painted majolica tiles for her home.

When people ask me about collecting art, I respond that you should collect what you love! - original artwork when possible, beautiful reproductions, and always be intentional. Don't just throw a painting on a wall, or put a sculpture on a stand because you 'need something to fill the space' - but go out , search and find that 'Perfect' piece of artwork. Doing so will add a depth, beauty and purpose to your own collection - and who knows - perhaps one day your collection may end up in the Met!

Sculptor's Muse: Research

Mon, 28 Oct 2019 12:02:00 GMT

What goes hand in hand with being a figurative sculptor? A passion for research and history! Before I begin any sculpture or commission, I find myself researching...something. At times I start by pulling books from my personal library - a collection of art and art history books that I have gathered over the years - half are out of print and are probably considered a 'valuable find' in antique stores. These books have written notations in them (I always use pencil) and sticky notes of various colors sticking out from the top and sides of the pages. Even during moments in the studio when I sit taking a quick coffee break - I will reach for one of these books to peruse, keeping in front of my mind - good sculpture and good compositions. I also have books on philosophy, among my favorites "Great Works of Art and what makes them great" written by sculptor F. W. Ruckstull, a complete set of works by Hans R. Rookmaaker and a recent favorite "The Arts and the Christian Imagination" by Clyde S. Kilby.

In addition to my library, I have a collection of sketch books from various exhibits, museums and sculpture gardens in the USA and Europe. I refer to these sketches time and again, reading my notes scrawled on the side of the pages and going over the sketches.

Another valuable part of my research, is three ring binders filled with photographs, sketches and measurements of sculptures - especially over life-size monuments. When we lived in Mississippi, the Vicksburg military park was one of my favorite places to go. Some of my favorite sculptor's works are there, and it's not as well known as Gettysburg, so having the 'park to myself' was more of an option.

Quick sketches that take just a few minutes are referred to as "gestures" and these are what fill most of my sketch books.

Having a strong son is always helpful. Taking research photos it is always best to be as close to 'eye level' with the figures as possible to avoid subtle distortion. The extra few feet in height are better than nothing!

Then there is the research for information. Though the internet is convenient, you have to be very careful as the information found cannot truly be verified. So, in addition to my research via the internet, I also conduct the tried and true method of libraries and archives, making copious notes and copies for my records.

It is safe to say - that for every minute I spend sculpting, there is another minute that has been spent in research of some kind, and it is those moments spent that germinate and blossom into the depth of beauty found in my work.

#sculpture #research #sketch #history

Sculptor's Muse: The Sculptor's Smock

Mon, 23 Sep 2019 12:39:00 GMT

Tools of the trade are vital - my tools are precise, some have been personally designed by me and then crafted by a woodworker, Andy Metts. However, in addition to my tools, my Sculptor’s Smock is important for my work.

Sculptors have used smocks throughout history. Bernini, the Baroque sculptor even met the Queen of Sweden wearing his sculpting smock - she was so touched by the symbolism of the act that she reached out and touched it. Smocks were used to protect one’s clothing from the dust of clay and marble.

Smocks were made of linen, with plenty of room for the arms to move, thus the sleeves were full. They could be knee length or longer and some had pockets.

As the linen jacket I had used for 20 years as a smock had finally worn out all its patched holes, it was time for another smock. Though there are painter’s smocks to be found in abundance, a sculptor’s smock was not. So I began the journey! First, the fabric. I was able to find the fabric from a local supplier who brought flax linen straight from the oldest flax mill in Lithuania - pretty awesome!

Linen is durable and can also breathe - a necessity for a sculptor’s work.

Then working with a friend of mine who is seamstress, Sally Sherrouse. We worked together to create a pattern that would fit (not only me!) but all the requirements I needed for a sculptor’s smock.

One of the best things is the pockets, deep enough for my hands, while inside the pockets, I designed a curved pocket with sections sewn for tools to be placed. That way when I’m working between tools, each one has it’s own ‘sleeve’ inside my big pockets, this keeps them separated and upright, quick to pull out as I need them.

Not only did I have a full sleeved smock made, I also had Sally make a sleeveless one. So in essence, I now have a ‘winter smock’ and a ‘summer smock’.

The pocket design is invaluable and when I walk into the studio and put on my smock - I’m ready for any visit from Royalty!

#tools #studio #sculpting #smock #history

Sculptor's Muse: Apprenticeship

Tue, 27 Aug 2019 12:24:00 GMT

Back in the Medieval Ages, the art of sculpting was achieved through the master/apprentice style of training. This was more of a one on one type of approach, and though a Master could have a studio full of apprentices working under him, they each were able to study with him individually as they progressed in their field. Once your apprenticeship was completed, you were then a journeyman - stepping out on your own until finally you achieved the rank of Master with apprentices under you. However, in today's current culture, the apprenticeship style training has given way to the more 'formal' approach of university classrooms.

I was truly blessed to not only study under Dr. Sam Gore (taking sculpture classes under him for my undergradate and my MFA graduate work) but also to work closely with him for eight year as an apprentice.

That began when I first met him over 25 years ago. Since that time Dr. Gore became a mentor to me, not only in sculpture, but he helped develop my understanding of art and history, the role the Christian has in the arts, apologetics for beautiful figurative art and the work ethic demanded of the disciple of figurative sculpture.

During these years, he and his wife, Margie, became very close to our family and as our children were born, "DorDor" and "Mimi" were another set of grandparents to them.

In addition to the fun of family, there were many many hours spent as I would prepare clay, help block out monuments, read sculpture and art books that were recommended - my husband, Robert, also worked with Dr. Gore creating molds for his sculptures that would be cast in bronze or other materials, driving to load the truck with dry clay for the pug mill, and other sundry tasks focused on mold making and bronze casting. All of this helped us so much in the field of sculpture. We eventually built our own foundry, Robert working as mold maker and foundryman for my sculptures.

Dr. Gore could do anything and make anything work or create any tool he needed. One time Robert complimented him on a specific patina on a bronze, and found out he had just thrown together a few random ingredients he had - including Coke! We would refer to this 'ability' to do anything, out of anything, as "the Gore". Years later, we realized that we had achieved this intuitive ability as well. In essence we had crossed the line from journeyman to master.

This past spring, I got a phone call, that Dr Gore at age 91, had suddenly passed away. I had talked with him on the phone two days before - talking about the sculptures we were each working on and making sure that I told the kids he loved them. There is no need to describe my grief.

The day following I felt compelled to sculpt a memorial sculpture - a small size, just for me - and there was so much comfort in the process for me. I chose a 'sculptor angel' as the figure, with a medallion bearing a bas relief created from a self-portrait Dr Gore had painted. I had sculpted a 'ribbon' across the front to bear the title, but when I was finished, I had no words - so I left the ribbon blank.

We went down for the funeral, one of my sons was an honorary pall bearer (two of my sons were pall bearers when his wife passed away a few years back.), we sat with the family, and his oldest daughter (and one of my close friends) Judy, asked my help to assist in completing the sculpture that Dr Gore had been working on. He had been working furiously on completing three figures of the sleeping disciples in the Garden of Gethsemane. Earlier this year he had unveiled his figure of Christ praying in the Garden and these were to be the companion pieces to that sculpture.

So, three weeks later, I drove down with my son, Colt, who assists me with my larger sculptures - as well as modeling for me as needed. We spent three days with Judy as we prayed, discussed, and worked together on Dr Gore's unfinished disciple. Through tears, shared laughter over memories, and spells of silence as we both sculpted, we all worked. When Colt wasn't modeling he was working up the clay for us as the plasticine used was various kinds and some was much stiffer than others. Barbara Gauntt, who had created the book of Dr Gore and his work "Blessed with Tired Hands" wanted to come by and take photos as a visual journal of the unfinished sculpture. As another close friend of the Gore's, Barbara joined in our shared grief, she photographed the last few hours we worked together.

Judy had asked other students of Dr Gore to assist in the completion of the sculpture, and she and I had a 'goal' for how far we wanted to get the sculpture finished while we were down there before the other students came to do their part - Praise God - we achieved that goal with two hours to spare, after three days of work!

As funds are currently being raised for the casting of the last three figures, the sculptures sit quietly in Dr. Gore's studio, and I feel truly blessed indeed to be a part of his work - in so many ways.

#allegory #DrSamGore #memorial #apprenticeship

Sculptor's Muse: Portraits

Tue, 30 Jul 2019 12:28:00 GMT

One of the main areas of a sculptor's work is that of Portraiture, which happens to also be one of my favorites. I have been asked if the technology of 3D printing will affect the commissions for portraits, and I have not experienced that it has. I also don't think that it can - not really.

A true portrait, whether in sculpture or painting - has to pass through the eyes and hands of the artist. It is no mere static, sterile 'copy' of the person. The job of the sculptor is to create - not just a likeness, but the very 'who' the person is or was. Rodin stated "No soul, no sculpture" and that is true in its purest essence where portraits are concerned.

With the use of subtle nuances, the portrait comes to life. The sparkle in the eyes or the thoughtful expression, it's my job to find those almost-hidden elements that make up that person's character, who they are, what they mean to others. All of these things have to be discovered and drawn out and sculpted into the portrait - something no machine can do - it has to come through the eyes of another human - the artist.

In creating a portrait there are several approaches: sculpting directly from life, from photographs and measurements taken by the sculptor or in the case of a posthumous portrait - from photographs and videos provided to the sculptor.

Sculpting from life is always fun, but not always practical. Having the person sitting or standing for periods of time can be fatiguing to them. Taking breaks and allowing them to 'relax' their expression until I am working specifically on that aspect helps to keep everything 'on pointe'.

However, this can be challenging for young children, which brings me to the next approach, the use of photographs and measurements in creating a portrait. Most of the time, the person I am sculpting a portrait of cannot come to the studio for times of modeling, or can only come a for a short amount of time. In this case, I have my own calipers and my own set of key measurements that I take from the person myself. These are not just the main measurements of height, width and depth, but also include triangular measurements between bony features of the skull, neck, shoulders and sternum, as well as landmarks of key facial features. All of these measurements are recorded on paper, not in inches, instead I lay the calipers on the paper and draw a line between the caliper points. For myself, I find this more accurate. It is important that I am the one taking the measurements, as everyone measures a little differently and minor differences can make major differences in the portrait.

Another key aspect is the photographs. Most people use the camera on their phones for all of their photos. Though they look great on the screen, there is actually a barrel distortion that happens with these tiny lenses. Even with a 'nice' camera, there is a distortion. To avoid this, the photographs have to be taken at 110mm so that there is no amount of distortion in the features of the face. That being said, photos taken on phones are still helpful in showing me the character and expressions a person has. I usually ask for any 'favorite' photos to be sent to me for this reason. I sculpt the portrait from my measurements and my photographs, without any composition or expression - and then once I have caught the physical likeness, then comes the fun part of creating the expression - I do this by looking and mentally pouring over the 'favorite' photos - that helps me find the 'soul' as Rodin stated.

One of my recent portrait commissions was of a toddler. He was on the go, and I had my daughter assist me, as she would take photos (110m) while the boy looked and talked and ate and ran around. My daughter Crimson Rose, knows how to take these 'research' photos - for instance - making sure she is on the same 'eye level' as the child and the camera isn't tilted down at the child which would create subtle distortions of the features. While she was doing that, I was able to take caliper measurements a little at a time as he played. Then I asked his grandmother (who commissioned the portrait) to send me all her 'favorite photos' so I could muse on the expression I wanted. So, from all of this, I went back to the studio and was able to create his portrait. His grandmother came up with the title Parvulus Ursus, Latin for "little bear" which is his family nickname. Though the sculpture was created in stoneware clay, the Grandmother is also having it cast in bronze.

The final approach to portraiture is that of the posthumous portrait. These, to me, are the most emotionally rewarding and the most challenging. They are challenging because I have no recourse to my own measurements and often have to work from photos that aren't from a 110mm lens. They require much more time involved in researching over every photograph provided, and if available, every video. I have to compare measurements from photographs and video stills to discover the measurements I need to work from. Sometimes if there is a living relative that resembles the deceased, I will ask for photos of them and take measurements if I think they are applicable to the bone structure. However, challenges not withstanding, posthumous portraits are the most emotionally rewarding type of portrait I sculpt. To hear the family's response and to see how much comfort is brought through having a portrait bust of a loved one is a beautiful thing.

Such was the case of the portrait of F-16 pilot, James Michael Steel. With my own father in the military, sculpting someone who had given their life in service for our country was an honor filled with a deep respect, reverence and thankfulness for his sacrifice. James' life and service enables me to be able to exercise my talent in sculpting in a country that allows me the freedom to do so! In the words of Shakespeare "I can no other answer make, but thanks, thanks and ever thanks!"

Portraits in sculpture have been valued throughout history from the Greeks and Romans up to today. They fill our national buildings, monuments, libraries, hospitals, museums and collections public and private. The sculpted portrait is an ever-enduring legacy of the person portrayed.

#portrait #sculpture #sculpting #research

Sculptor's Muse - Seasons

Fri, 11 May 2018 22:24:00 GMT

The Four Seasons have a history as great series for artwork. Most often seen as sculptures in a garden setting, figurative allegories of the Seasons have been created in a variety of ways; some are all female, some are represented as two male and two female, and various attributes have been used to give the viewer a clue as to the season represented. I enjoy touring historic gardens and viewing the sculptures, deciphering what each figure represents by what they may be holding or wearing.

So, I was delighted with a commission to create a series of the Four Seasons as portrait busts in stoneware clay.

Of the four sculptures, "Spring" was the most personal to my client. Sunflowers were chosen as the flowers that are often used as an attribute of the season of Spring. I researched neoclassical sculptures of Clytie to inspire myself with ideas on creating sunflowers in sculpture. My client also wanted to have her birth month, March, represented by Pisces. I chose to create a stylized Pisces as the decorative part of an ornate headpiece on the sculpture. This allowed the Pisces to be represented naturally as a part of the whole sculpture, and avoided an 'added on' look.

When the Season series were installed, the portrait of Autumn looks towards the portrait of Spring. Autumn and Winter were created as male figures. My favorite part of sculpting "Autumn" was the expression, and the grape vines and grape leaves. I have the vines entwined around an amphora. With grapes harvested in the Autumn, they and 'vino' are often seen as attributes of this season.

The space for the portrait of "Winter" was the shortest of all the spaces allocated to the Seasons at my client's home. So I utilized more horizontal movement to maximize the presence of 'Winter". Depicted as an old man with a long curling beard and windswept hooded cloak - I completed the iconic elements of "Winter" with a flaming brazier that is often historically displayed with this season.

And last is "Summer". With her hair bound up in a classical style, and gazing up towards the sunny sky, "Summer" has her historic attributes of sheaves of wheat and a sickle - as wheat is harvested in the summer months.

When the Season's were installed, I was already dreaming of one day sculpting a series of full-figure Seasons, perhaps for my own garden someday!

Sculptor's Muse: the Art of Bronze Patinas

Tue, 18 Jul 2017 11:44:00 GMT

A patina is the color that is put on a finished bronze sculpture. Most people think it is a paint brushed on the surface of the bronze, however, a patina is created with heat or cold and various chemicals. After the patina is applied then the sculpture is sealed to slow the oxidization process ('oxidation' changes the color, usually slowly going darker as seen on antique bronze sculptures. If they are outside, sculptures may even turn verdi-gris over the years depending on the chemicals present in the air and rain.) After the sealer is applied, I then add a finish of wax to soften the shiny gloss of the sealer.

Some patinas have been handed down from centuries past and are quite standard fare now. For instance the 'French brown' is a traditional patina that I put on most of my bronzes. I also use it for all the skin tones when there may be a different colored patina elsewhere in the sculpture. The photo below of Gen Koscisuzko with his Aide de Camp Agrippa Hull shows this traditional "French Brown" patina.

Whereas, the sculpture of Tres Amigas, shows the various colors of patina while the skin tones remain the traditional French brown. (below)

With each bronze cast by the foundry, I direct the patineur with the patina I want for each sculpture. On some sculptures, I, as the sculptor, direct a slightly different patina if I want to emphasize a different element or give a more unique look to each bronze. The beauty of the patina gives each bronze - even those in limited editions - their own individual beauty. The photos below show two bronzes from the same edition, but with different patinas. One with a turquoise look, another with lighter and 'lacey' look. Both of these patinas are more complex being built up by the patineur in layers of color and chemicals.

The 'art' of the patina lies with the sculptor. Color is a great thing, but if the color of the patina overwhelms the figure of the sculpture, then what is to be communicated through the figures is no longer clear, but is being shouted out by a peripheral element. The art of knowing which patina to use and how much, is the sculptor's responsibility.

My latest bronzes of two sisters are shown below. At first I was going to use the traditional French brown on the entire sculptures. However, one important element that tied the sisters together was their attending ballet classes together. With a solid patina over them, then the close fitting leotard, tights and shoes were 'lost'. So I chose to use a slightly silver patina for the tights and shoes. Now, traditionally, beginning ballerinas have light pink shoes and tights, however, I felt that any 'pink' translated in the patina of the bronze would come across as 'too much' and detract from the sculptures as there would be no other 'color' on them. For the leotards I chose a very soft black patina, again, a glossy dark contrast of a dark opaque black would detract from the figures. I wanted to give 'just enough' information to the viewer that they were in leotards, tights and ballet shoes through the patina - thus emphasizing and enhancing the figures and what they are communicating: Sisters enjoying dance, enjoying each other, each with her own beauty, the older one with grace and quiet introspection, the younger one with a spunky, fun loving attitude towards life.

So, for these two sculptures I directed a more subtle patina. The "Art" of the sculptor goes beyond mere modeling of the figure.

Decorative Arts

Thu, 06 Jul 2017 17:53:07 GMT

One often thinks of sculpture as statues standing outside on a plinth, however, sculpture historically functioned hand in hand with architecture. Researching the beautiful fountains and palaces of Europe, decorative sculpture is strewn all over facades, window casements and arches. Inside you find sculptural elements on mantel pieces, ceilings, above doorways, and stair banisters.... And so I began to research this fascinating place that sculpture fulfilled in architectural settings, which led to the inspiration for my Arcanum Lion fountain that now graces the courtyard outside my studio.

After drawing out the fountain's blueprints on graph paper, we dug for the footing of 4" concrete and starting building the wall and front columns. A little engineering came in as we dug and created the large hidden basin underground to hold the reservoir of water and the pump.

For the top basin we used a birdbath we had and built it in to the wall. Afterwards, I went back to the studio as I researched French decorative reliefs and found inspiration for the elements on either side of the Lion masque and for the top plaque 1852 (which is the date our house, Arcanum, was built).

Starting with the key element, the lion masque, I poured over lion fountains from the Romans to the Renaissance, Baroque, Neoclassical and even some Art Nouveau. One aspect I wanted early on was a 'gush' of water from the lion's mouth instead of a 'stream'. Having created fountains in the past, I knew that I wanted the most movement and noise from the water.

We used a concrete trough planter for the bottom basin and I sculpted a large plaque for the space underneath the top basin, because, honestly, I was really enjoying creating these decorative elements.

For the two columns I sculpted two allegorical figures, one representing Truth and History - the other Beauty and Art - as those are all elements in all of my artwork. Loving languages, and as Arcanum is Latin, I inscribed the plaques in French as a nod to the inspiration drawn from French decorative sculptures.

With plenty of places for sculptures, planters and even stray cats to sit on, I enjoy seeing a bit of history and Europe that we created. This wall fountain was the perfect result of a love for historic research and my delving into the lost purpose of decorative sculpture.

#fountain #lion #french #water #sculpture #sculpting #allegory #decorativesculpture #reliefsculpture

Hats off to my models

Wed, 21 Jun 2017 17:59:19 GMT

One of the most vital elements for a sculptor - is live models. My children, myself and husband have often been utilized in my sculptures, and most commissions require research into posthumous portraits. However, being able to sculpt from live models is a gift to a sculptor. Friends and relatives have graciously sat for me. "Graciously" being a key word. Modeling is much harder than one thinks. I modeled in college for the art classes, and after each break, resuming a position by going back to where your muscles ache is an art in itself. Even with breaks, standing or sitting still for long (or short) periods of time throughout the sculpting session is truly hard work. Symone, had two days she could devote to modeling, and she was a jewel! Intuitively moving herself as I moved the sculpture, holding herself poised and able to go back to her pose after each break. Normally, I only ask two hours (with breaks) from my models, and have them come back several times to the studio - but with Symone's schedule, moving out of state, she was a trooper - modeling for hours over two days. I am close to completion with her sculpture now (having to work from photographs now) and am very excited about how it is coming together.

Another marathon of sculpting and modeling happened recently as my brother-in-law, Burke - military officer that he is - agreed to model while their family was visiting us this summer. Swimsuit clad, posing as a Centurion strapping on his armor (specifically the brace on his left forearm) Burke modeled all day long.... We had only one day, and we were both sore the next day - his left calf from posing with that heel raised, and I had a specific point on the right side of my back that was aching! That evening I took numerous photos and and caliper measurements and plan to finish the sculpture this summer.

Michelangelo stated at 87 years old "I am still learning" and working with models, I continue not only to learn, but also to be in awe of God's creative genius found in each individual person.

#model #sculpting

Aussie Vistor to my Studio

Fri, 02 Jun 2017 18:03:39 GMT

Standing with Felix Molski from Australia, who came to see my portrait bust of Kosciuszko.

An honor.... to be a small part of a larger concept to honour one of humanity's greatest heroes. Felix Molski from Australia has a vision: to document every memorial and sculpture of Tadeusz Kosciuszko. He is part of the Kosciuszko Heritage, Inc and is working hard to have his information gathered and organized for the fall of this year. Part of his work was to spend a month visiting the USA and Europe to personally photograph Kosciuszko related monuments, from plaques to monuments, this vast amount of work is amazing. I had met Felix previously when I was at the United States Military Academy unveiling my bronze portrait bust of Gen. Kosciuszko. (There are three extant sculptures of this bust, one in New York, one in the town hall of Kosciusko, Mississippi and one in my personal collection. The bust was taken from my life-size monument of Gen. Kosciuszko installed at Red Bud Springs Park in Kosciusko, Mississippi.)

Felix contacted me about his trip and we coordinated a time for him to drive to my studio in Tennessee. It was a wonderful visit, I enjoyed learning about his "monumental" project and, as a sculptor, enjoyed pouring over his collections of photos showing sculptures of Kosciuszko in the past two centuries. Not only did I meet an amazing man, now a dear friend, with an incredible passion for his work - I was able to glimpse the important responsibility and valuable part that a sculptor's art plays in the history....and future... of humanity.

The Enchantment of Unveilings

Thu, 14 Apr 2016 22:15:44 GMT

The moment every sculptor lives for: the unveiling of the sculpture! I always encourage my collectors to have an unveiling of their sculpture, especially when it is a public arena - monuments, universities, corporations, or in this case... a hospital. St Dominic's Hospital in Jackson, MS. Unveiling adds that unique anticipation to your sculpture, heightening the drama and expectation of the viewer. In the case of St Dominic's it was beautifully done! The sculpture arrived a few months prior to the unveiling date, and after being uncrated and viewed by a select few of the commissioning committee, it was kept undercover until the day of the event. The "Dominican Sister" was then taken up to the lobby to be placed in situ, carefully uncrated underneath the unveiling fabric just to make sure those in the busy lobby of the hospital didn't get a sneak peek! As the time drew closer to the event, the veiled figure in the lobby caused lots of anticipation and as the crowds came for the ceremony, the expectation was palpable. The crowning moment arrived when five Dominican Sisters were called forward to unveil the sculpture to a beautiful applause! That moment always marks the high point for me: all the work, the research, the casting...all of it comes together as the sculpture, now unveiled, communicates its emotion and message to the viewer. I love it! Seeing the expressions on the faces around me and hearing their comments afterwards, this is truly the reward of every sculptor. Yes, I do love unveilings and the anticipation it gives to people....so much so, that I even chose not to know the gender of any of my children before they were born! Talk about an anticipated unveiling among family and friends!

#unveiling #bronze #sculpting

Sculptor's Sketches - Bernini exhibit at the Kimbell Art Museum

Wed, 24 Jun 2015 22:15:09 GMT

Have sketchbook, Will travel.... and travel we did, all the way to the Kimbell Art Museum in Ft Worth, TX. It is rare that I visit any musuem exhibit without sketch book in hand, I have sketches from every visit to the Met in New York City, the Cloisters, and the nearby Frist in Nashville - as well as from the Uffizi, Vatican and Louvre and many other museums. (In fact, my children now also bring their own sketchbooks to art museums.) Parks, fountains, and architecture are also found gestured among my sketchbooks, as Cellini says, "Continue, without fail, to draw something everyday." I don't make it every day, but my sketchbooks do include gestures of my children and friends, and even in their sketchy gestures, I often enjoy looking at them growing up through the years from my sketchbooks rather than photo albums.

Through the years, I've developed my favorite manner of 'quick draw' in a museum setting. At times with crowds of people moving around you (or peering over your shoulder) the artist sketching in a museum has to realize two things: speed and etiquette.

Speed - these are sketches, not works of art and unless you have the luxury of having the art museum up the street from you, you don't have the time to do a 'finished' drawing - These sketches are not an end unto themselves - they are serving as a valuable resource for me as a sculptor. So my purpose in my sketching is to quickly hone in on the element that I want to study and focus on that. To do that I use a toned paper, woodless ebony (or charcoal) and white conte. The toned paper gives me my mid tone values, I do a quick gesture (sketch), throw in the darks with the ebony and touch in some highlightg with the conte, scribble a few notes to myself on the side and voila! I've captured what I need for my own research and work!

Etiquette - don't block the view of the artwork from others as you are sketching - so finding a position to give you the view you want and still being considerate of others is paramount. Don't distract the other viewers, they are also there to enjoy the experience of viewing the artwork. I use a small sketchbook about 5" x 7" on a spiral binder, so I can easily turn pages and I can keep all my sketching and movements 'close in' (not loudly turning the pages of a huge 18" x 24" pad with glued binding) all my tools - eraser, ebony, charcoal, conte are small and kept in a tiny case I have that fits easily into a small purse or pocket.

Creating sketches, I've come to love them. I love the sketches of the master artists, I enjoy seeing the sketches of other sculptors - which brings me to another type of sketch - the bozzetto, the quick sketch/gesture in clay by the sculptor..... but bozetti (plural form of bozzetto) are for another blog!

Light

Wed, 19 Nov 2014 23:13:51 GMT

photo showing sunlight reflecting off the autumn maple leaves

photo: Kosciuszko painting and Kosciuszko bronze sculpture lit by the natural sunlight coming through the autumn leaves of the maple tree outside the window

There are many convincing arguments stating that "lighting is everything" - and while maybe not 'everything' light does garnish a fair (and deserved) amount of attention in the art realm. As a sculptor, I use light to 'color' my sculptures through the use of textures and undercuts that I create, to give the illusion of pupils, softness in fabric, skin, hair, etc. I can create eyes that appear to be blue, grey or green, or those that are brown or black by the depth of the iris that I sculpt - allowing more or less shadow to create the effect I want.

This morning I went into my Dining Room and noticed a gorgeous effect of lighting on my oil painting of 'Summer Sunrise in Kosciuszko's Garden'. The only light on the painting was the early morning light - however, this light was being reflected off of the warm golden colors of my maple tree outside. In addition to the warm natural light, the painting itself was painted using the Old Master's techniques of the Hudson River School painters, part of which is creating an atmospheric effect and depth through the use of layer upon layer upon layer of translucent glazes. In the foreground and mid-ground of the painting I used many layers of yellow ochre and Naples yellow and Raw sienna - the natural sunlight reflected off the maple tree enhanced the translucent colors in these layers and the effect was stunning! My painting fairly glowed!

In addition to that, the effect of this warm natural light on the bronze of the sculpture portrait bust of General Kosciuszko was enchanting. So, truly the photograph should be titled 'Autumn Sunrise in Tennessee on Summer's Sunrise in Kosciuszko's Garden and bronze bust'

#history #kosciuszko #painting #bronze #light

Inspired by Michelangelo's Sketches

Tue, 18 Nov 2014 23:14:20 GMT

I highly recommend the Michelangelo exhibit at the Frist. Only two rooms, with about 26 drawings from his sketchbooks. So a small but well worth it exhibit! I loved seeing his handwriting on the pages and his working out different compositions of the same figure. I was so inspired I came home and sketched more (with my awesome children as models).

I've had this sketchbook for several years as a gift from my father. It is handcrafted with a leather cover and hand made paper. Since it didn't have a hard cover, it was impractical as a field sketch book. It was so beautiful I didn't know what to do with it. I was afraid to do something that wouldn't look good. But when I saw Michel Angelo's sketches, I was inspired to just go ahead and fill the pages up!

I love the toned natural look of the paper - however, it is soft and as such makes sketching that much 'truer'. Sketching should be done very quickly, the main purpose is just to get down initial ideas, concepts or compositions. Inspiration comes quickly and you've got to jump on it. An overworked sketch loses so much of it's initial fire and charm. So, the soft paper forces me to be quick, because it doesn't erase lines well at all! It's almost like sketching in ink. These rapid-fire sketches (gestures) compared to sculpture would be the rapid-fire bozzetto or ebauche (depending on if you prefer the Italian or French form).

Whether clay, charcoal or graphite - I usually spend five minutes or less on any sketch or bozzetto. This 'first fire of inspiration' is probably my favorite element in the creation process.

The photos below show some sketches from the leatherbound sketch book, and a couple of bozzetti of my son and daughter when they were younger. The bozzetti are 'terra cruda' meaning unfired clay. I usually don't keep my bozetto. Sketchbooks can easily be placed on a book shelf, but sculpture takes up room and I don't have room enough in the studio to keep all the bozzetti I do! However, I have kept a few when the models happened to be my children. In order to keep myself limited on my time, I usually sketch my children while they are doing something like reading or playing a game together. It keeps them quasi-still forcing me to get down the main elements as quickly as possible. Occasionally I will have them actually model if the sketch or bozetto is intended to become a more complete drawing or sculpture.

Thank you Michel Angelo Buonorotti for inspiring sculptors 500 years later with your sketch book pages!

Autumn Weather and Books

Sat, 02 Nov 2013 22:14:54 GMT

With cooler weather I enjoy curling up with a cup of something hot to drink and reading. My favorite books being those on sculpture, I thought that posting book reviews would be fun and enjoyable for those of you who are fellow bibliophiles (especially for anything written on the arts in general and sculpture in particular). Whenever I go to a library or used book store, my first place to look is in the art section where ‘sculpture’ will be. Most of the time, there are not many books on sculpture. If there are, there is the ubiquitous Michelangelo, maybe a Bernini and then all the modern sculptors from the last 50-60 years. However, when I find something really special, it is a treasure indeed!

Such is the case with this book “The Spirit of American Sculpture” written by Adeline Adams in 1923 for the (at that time up and coming) National Sculpture Society. This book gives a brief history of the sculptors of America’s history, starting with the first American sculptor – a woman, Patience Wright, who sculpted before, during and after our Revolution and even did a little espionage on the side while she sculpted in London during the war! The book then goes on to three of America’s great leaders in the art of sculpture: John Quincy Adams Ward, Augustus St Gaudens, and Daniel Chester French (all three are some of my favorite sculptors to study!).

The last sections of the book describe various kinds of sculpture, reliefs, busts, equestrian, garden and ornamental, etc. As I read this book, I underlined meaningful passages, wrote in notes and copied pertinent quotes into my personal book of quotes.

Adeline Adams writes “The sculptor’s work means far more than staying in a studio and luring visions into clay or stone or bronze. His business isn’t altogether a wrestling with the angels…The sculptor’s masterpiece must be able to resist the spiritual wear-and-tear of the market place of the world’s opinion. It is no masterpiece unless it can in the end do that. And if, as it stands, the work is a silent influence against superficiality and emptiness, something is gained for American life. Glad sculpture as well as grave sculpture can exert that influence.”

Sadly, many of my favorite books are out of print… happily they can usually be easily found on the internet as used books!

#bookreview #quotes #history

St Francis and my studio wren

Sun, 16 Jun 2013 22:14:38 GMT

Detail photo St Francis and his 'little sister' by Tracy H Sugg

I’ve always been fond of St Francis, as it seems most people are. One of the things I love about him is his championing the arts; for God is Beauty, therefore, art that is beautiful should be created. However, his popularity in gardens and with wildlife is universally iconic. So I was excited when I received this commission for a bronze sculpture of St Francis. In researching his life, I came across his sermon to the birds (pasted below this note) and I didn’t realize that the sermon would be brought to life for me. At the time, I had a nest of wrens in studio…. every spring the wrens and I go through the same song and dance Though I have finally convinced the squirrels that my studio ceiling is not the best place for a family, the wrens still continue to find a way in. I keep the threshold of my studio door raised a bit, and evidently it’s enough space for the wrens to hop under and inside. While I was away at the Bernini exhibit, the wrens had found a perfect place and built their perfect nest.

They had also found St Francis, whom I was sculpting at the time.

So when I returned there were these cheeky little wrens, all snug in their nest and as I began to work on St Francis, I noticed tiny little bird tracks on the top of his tonsured head!

Ah Well, how fitting that of all my sculptures, it was St Francis that drew their attention. And so was born the full title of the sculpture “St Francis with his Little Sister” inspired by the incident with the wrens, and his sermon below.

For those wanting to know the ‘rest of the story’ the wrens had two babies, (two eggs didn’t hatch) and as I worked daily in the studio, they became familiar with me and would fly past me dozens of times a day as they would creep under the door bringing in food for the wren babies. They’ve fledged now, and I’ve kept the nest with the two unhatched eggs. They were pleasant company in the studio, a soft reminder of St Francis and his life.

My little sisters, the birds, much bounden are ye unto God, your Creator, and always in every place ought ye to praise Him, for that He hath given you liberty to fly about everywhere, and hath also given you double and triple rainment; moreover He preserved your seed in the ark of Noah, that your race might not perish out of the world; still more are ye beholden to Him for the element of the air which He hath appointed for you; beyond all this, ye sow not, neither do you reap; and God feedeth you, and giveth you the streams and fountains for your drink; the mountains and valleys for your refuge and the high trees whereon to make your nests; and because ye know not how to spin or sow, God clotheth you, you and your children; wherefore your Creator loveth you much, seeing that He hath bestowed on you so many benefits; and therefore, my little sisters, beware of the sin of ingratitude, and study always to give praises unto God.

Saint Francis of Assisi – c1220

#quotes #bronze #StFrancis

Ten Laws of Composition

Sun, 10 Mar 2013 22:15:02 GMT

Back in 2009, I went into a used book shop (bibliophilia being one of my vices!) and found a jewel. The first section I always scout out being the art section, which is usually cluttered with tomes on painting (that to my painter friends :)) I found a book, written in 1925 by a Sculptor, F. W. Ruckstull "Great Works of Art and What Makes Them Great". An extremely deep read, and very well worth the reading if you find a copy! Though Ruckstull was a sculptor, his book applies to all the visual arts, with even some cross-over applications to literature as well.

Though I would love to write a syopsis of the entire book, I am choosing instead to give you the 'jewels' in his chapter on the 10 laws of composition. These are just my summaries of them, I write mainly to those artists who are always seeking (as I do) to soar higher in their own work.

Ten Laws of Composition according to F. W.Ruckstull (words in parenthesis are my own)

1. To create a Picturesque work of art - use angular lines and masses, accompanied by a certain disorder, (he stresses that this 'disorder' by VERY slight and not over exaggerated) which arouses emotions bordering on mirth (happiness, delight) in varying degrees.

2. To create a Graceful work of art - use serpentine lines accompanied with Order to stir emotions.

3. To creat a Sublime or Monumental work of art (my personal favorite) - use pyramidal lines and masses accompanied with order for a state of awe.

4. Concentration of Effects - central point of interest, such as the face or main figure.

5. Balance of Masses - creates repose

6. Clearness of Meaning - especially for illustrative, allegoric and symbolic art (again, one of my favorites)

7. Simplicity - keep that which expresses the main subject, exclude unnecessary elements whichdilute the force of expression.

8. Unity of Subject

9. Proportion

10. Harmony

The first three laws deal with Types of Composition, and the last seven laws deal with Elements of Composition.

If my summary seems too brief, I suggest you find a used copy of this out of print jewel and read pages 219-243!

My art library is full of books written about sculpture or by sculptors from over a hundred years ago and up to the present time. I believe we should stand on the shoulders of those who have fought the battles before us, so that we can reach farther and in turn provide more for those coming after us! An artist should always leave tools and a legacy for future generations of artists. Selfishness will never be found among great artists. - Tracy H Sugg, Sculptor

#bookreview #sculpting #quotes

Building the Studio

Tue, 23 Oct 2012 22:13:40 GMT

Every artist has a studio, even it’s a corner of a room that has your supplies and a small working space. I think the fact is that artists have to create, and will find a way and a space to do so. There have been times I have moved into our living room or dining room, shoving furniture into other parts of the house so I could have the extra space I needed when working on multiple projects. For the artist, living space comes second to studio space.

Space to work

That being said, there are several things I have discovered about artists studios, the first thing being that our studios are never big enough. If you are preparing to build your own studio, take my advice, and go as large as your space and finances can take you! This is especially true for sculptors. Not only do we need working space, but storage space for clay, equipment (kilns, welders, grinders, turntables, tools, etc) but also you can’t stack up sculptures like you can paintings, frames or drawings.

Where did I put that?

The second thing is organization! Difficult for some, but keeping a studio organized keeps an artist more productive, not wasting time trying to find ‘that tool’. The first few moments I spend in my studio in the morning is making sure things are in their place and removing any ‘visual clutter’. For sculptors there is the ever present bits of clay everywhere. I have found that keeping a bucket with a couple of inches of water nearby makes a great place to dump the clay bits as I’m working on them. At the end of the day (or the next morning) dump the water out and wedge the clay up. Usually letting it dry a bit and then wedging again periodically until it reaches the consistency you like and then wedging it into softball size masses you can place them in a plastic clay bag (another ubiquitous member of visual clutter in a sculptor’s studio).

When I have to move into a room in my house for more studio space, I will work with a sheet on the floor, and at the end of the day take up the sheet, empty the clay bits in a bucket with water, shake out the dust and replace the sheet. This helps me from tracking clay to other parts of the house as well.

Let there be light!

Third: Lighting is essential to all artists, as a sculptor I love natural light and have a lot of windows in my studio, along three walls in fact. But I also use spot lights or floods to direct light specifically on various angles of a sculpture. Lighting will help to reveal any inconsistencies in the figure I am sculpting. Unlike painters who truly need northern light and Ott lights, a sculptor isn’t working in color so much but in shape, so using lighting (natural or directed) to reveal your sculpted shape from any angle is a must.

Accessorize

And lastly, a few accessories that have helped to make my studio more efficient. I use a large mirror on one wall, this allows me to look at the sculpture and see the back of it in the mirror at the same time, so I constantly have two views to study. This also works well with models, I can see the front and the back of them through the use of a mirror. For sculptors I would place a mirror right up there as a priority for the studio. I also recommend a quality air filter and lots of good ventilation, especially if your kiln is in the studio with you. A shelf for all your notebooks, sketchbooks and art books, this keeps them from taking up work space and you can easily reference what you need. In my case, it is many shelves, but it is nice to have all my resources at my fingertips. Having a small area in your studio where you can sit, study your books and see your work all at once is very nice. (a place to set coffee cups: essential)

To wrap it all up, remember that beauty strengthens the soul, in creating works of beauty, be surrounded by beauty. Your works, music that inspires you (or just opening the windows and listening to the birds), a fountain, some ivy (provided you remember to water the darn thing!) all can contribute to making the studio a pleasant place to sit as well as a place to create.

“Sculpture is hard, brutal labor. One should not become an artist because he can, but because he must. It is only for those who would be miserable without it.”

— Irving Stone, “The Agony and the Ecstasy”

#quotes #studio

Glass and Stoneware Clay - combining artistic fields

Fri, 15 Jul 2011 22:15:40 GMT

I have been working with glass artist, Tammy O'Connor of Vitric Vision Glass Studio. We have been researching a way to slump glass over sculpture. Tammy conducted numerous trials, broke tons of glass, and finally discovered a breakthrough (no pun intended). This first trial piece was inspired by St. Paul "Behold, we see through a glass darkly". Interestingly our intention was to have the figure completely veiled by the glass. Tammy chose a smoothly textured irridescent glass so you could still see the figure underneath. Pane after pane of glass continued to break as she tried various ways to slump the glass over the figure, thus making a 'veil'. When she opened the kiln this past time, she first saw the tiny peice of glass that had broken and thought 'back to the drawing board' - then she looked where it had broken... and immediately called me! The small peice of glass had broken as if the fingers of the hand had torn through the fabric! This also allows you to peer through the 'torn' hole and see the face of the figure. What a beautiful sculpture! I will attach a photo, but for more photos I will create an album of this one piece.

Tammy and I are now moving forward, and plan to create a series of glass/sculptures which we plan to have completed by later this fall. In the meantime, our first experiement stands backlit in my parlor window. A beautiful symbolic piece in so many ways.

#vitricvisionglassstudio #sculpting

Tres Amigas - The Art of Energy

Fri, 03 Jun 2011 22:15:39 GMT

For those of you following Tracy’s work this summer in Santa Fe with the Tres Amigas bronze sculpture, we now have photographs of the completed bronze with the multi-color patina. Below is a copy of the email we sent to those in the field of energy that were interested in the sculpture – and as it summed everything up so well, we decided to send it to our newsletter list too. Enjoy – -

In a Platts online article “Transmission as art, New Mexico-style” Kathy Larsen states: In what has to be a first-ever development, Tres Amigas is forever immortalized as bronze art. …For those who toil in meetings and documents, this is just to remind us why we need artists.

We are excited about the interest Tres Amigas has created in the energy arena, as well as the area of fine art. Tracy’s diligence in historic research and expertise in sculpting the figure are beautifully evident in Tres Amigas. Paying close attention to detail on each figure, Tracy personally directed the multi-color patina onsite at the foundry. The attached photographs show the depth of beauty in the colors of the patina, and the rhythmic motion of the figures; the flowing shawl of a Hispanic lady, the beaded elegance of a Native American, and the prosaic simplicity of a pioneer settler. Tres Amigas is a beautiful and unique addition to any art collection – bringing together the beauty of the historic diversity of New Mexico and the art of combined energy in the nation.

Tres Amigas bronze sculpture can be ordered in two sizes. You can also choose the patina you prefer for your sculpture: the multi-color patina (as seen in the photos) or a traditional warm brown patina. All sculptures come on a stained and routed walnut base with turntable, so the sculpture can easily be viewed from all angles.

#tresamigas #bronze

One of the highest compliments for a Sculptor

Sat, 07 May 2011 22:14:58 GMT

I had the most beautiful 'recognition' happen to me - I was recognized by my hands!

Our family is part of the English Country Dancers near here (think of the dances you see in Pride and Prejudice and there you have it!) and we were in costume performing for a group this past week. Afterwards one of the ladies present came to me and said, "I thought you looked familiar to me, but I wasn't sure. Then when I saw your hands as you danced I recognized you as the sculptor I had seen!"

The Art of working in the same studio with others....

Thu, 24 Mar 2011 22:14:43 GMT

Of course, taking art classes you HAVE to work with others around, and working on my MFA required some shared studio space - but there are fine lines between having other artists around vs being alone and the efficacy of each. There are several personality types I have come across. First is the " artist who likes to talk" - these can be frustrating when you are trying to work and the other artist continually tells you their life story, or what they had for lunch (kind of like a string of FB quotes on steriods), Second is the "melancholy artist who never talks" - though I actually prefer this type of the two mentioned, it can get to be old hearing the deep sighs from their corner of the studio - and they also lack the creative inspirational spark that can happen when you get two artists together. Which brings us to number three: the artist who works, but then has maturity in their field to allow valuable feedback. In other words, you work quietly each on your own artwork, but can stop and ask for a critique, or discuss various options for the next 'step' you are contemplating on your artwork, or just having someone to discuss the philosophy of art and it's purpose. I have a friend that I work with occasionally, we each have a space in our studio for each other and I have found that having another good caliber artist around can bring added inspiration and stronger self critiques of my own work. And then last but not least, there is a fourth category - - - - critters. I have not met many artists who have a completely finished studio - by the time it gets completed, you realize it's got to be bigger and thus the cycle of always having a studio 'in progress' begins again. This aspect of studios often finds creatures other than the artists taking up residence. When we were in Mississippi, my husband, a potter, worked in what was originally a potting shed turned stable turned carport turned potter's studio - we left the open beams of the ceiling exposed because we liked them and the windows were open most of the time (heating and cooling in the studio???? what a dream!) which led to the generations of mud daubers that returned every spring and summer to build their nests on the ceiling beams. One day as Robert worked on the wheel throwing pots, and the mud daubers flew lazily around him, he thought 'I really ought to knock all those things down" but looking down with his hands in clay and seeing the mud daubers flying up - - with clay - also creating with it. Ah well, he lived with the mud daubers! And for some reason, wrens have always been attracted to Robert's pottery shelves of powdered glaze ingredients. I have never remembered a year when we didn't have to wait to fire the kiln (fearing the heat would be too much for the newly hatched wrens) until the wren babies were leaving the nest, and at times having to chase them around the studio, catching them and gently taking them outside so they wouldn't keep flying against the windows and shelves! But this year was going to be different! This year, we had insulated the studio, and were working hard on placing rabbit wire over all the holes of the corrugated metal roof - not very attractive, but this year I was determined not to share our studio with the wrens or the squirrels! The squirrels here in our Tennessee studio are so bold and arrogant as to lazily jump from rafter to rafter while I sculpt away underneath them. I wouldn't mind so much, but it is disconcerting to hear them knawing away on the rafters where they nest. I mean, I don't eat THEIR homes - I wish they wouldn't eat mine! so we insulated and when we noticed bits of insulation pulled out all over our back yard, we realized we inadvertantly provided great nesting materials for various birds and squirrels, so then we started trying to close up all the holes around the metal roof. We thought we had them licked, until the same tenacious squirrel found, yet, another way in and that's when I realized that this spring... the squirrels had won - she already had babies. So we opened up the corner of the roof we had blocked. I hear the four squirrel babies occasionally chatting away with each other, at times Mama Squirrel pokes her head out into the studio and watches me while I work (when she's not ganwing on my rafters).... but after the babies leave, THEN we'll block the hole up! I thought we had at least moved forward in some degree this year, that's when I noticed that wrens can actually squeeze under the threshold of our studio door - even with nest building twigs in their beaks. Oh well, they're creating too - what better place then - than an artist's studio.

#studio

Sculpting so others can touch memories

Wed, 16 Mar 2011 22:15:31 GMT

Working in my studio today, I remembered one of the most poignant commissions I had. A family had a child that died during birth, the only tangible thing they possessed was the hand prints of their baby. They asked me to create two tiny baby hands in clay based from those hand prints.

A sorrowfully sweet commission - Yet, also very fulfilling to create a memory they could always touch.

#sculpting

First Prize - Springhouse Art Competition & UMC Stained Glass Windows

Tue, 21 Dec 2010 23:13:44 GMT

This past Friday evening, I was awarded first place at the 2010 Springhouse Art Competition. The bronze sculpture titled “The Redemption of Adam and Eve” was chosen from out of 160 artworks selected from a juried competition. To see a great music video of the exhibition check out the Facebook link below (if I was techie enough, I would put it here somehow– my bronze sculpture begins and ends the video. The clay sculpture of the lady with the violin is also one of my works.

Springhouse Gallery Art Show paste the link below to see the video

https://www.facebook.com/video/video.php?v=462524592277&comments

Also note that all the pottery shown is by Robert including the whimsical teapot ‘the leggedy beastie – when caffeine takes form’

In addition to this excitement, the stained glass windows “Jesus and the Children” were installed last week at the First United Methodist Church in Tullahoma. Tammy O’Connor, stained glass artist of Vitric Vision glass studio asked meto execute all of the painting of the six figures for two large windows (5 foot by 6 foot each) for a children’s room at the church. Tammy and I collaborated on the design and have been working since June on this project. Each piece of glass that I worked on was fired three times. Painting on stained glass is generally a three step process, with each step being fired in a kiln: tracing, matting and veiling. I have worked with stained glass before and enjoyed working on this large project with Tammy O’Connor. She is an incredibly creative artist, and it is an honor to work beside someone who is so gifted in what they do.

#firstplacecompetition #vitricvisionglassstudio

Seasonal Inspiration

Thu, 14 Oct 2010 22:14:01 GMT

The changing of the seasons always brings inspiration to an artist. The fragrance, color, texture of each season brings with it, it's own language of beauty. Commission work aside, I find the seasons reflected in the subject matter and composition of the sculptures I am currently working on for gallery work, exhibits or (for the rare opportunities when I have the time) sculptures for myself.

However, there are also seasons during our lives that provide inspiration as well, a season of youth, maturity, marriage, parenting... seasons of waiting, rejoicing, perseverence, learning... the artist innately takes inspiration from all of these seasons of life and they are in turn reflected into all that is created communicating to people in a beautiful language universal themes of life.

Today I will be putting the finish on a series of sculptures inspired by autumn.... a French provencial shepherdess, a fun portrait bust with removable sculpted mask, a violinist in a long evening gown.... all a part of the senses experienced this fall.

"In all thinsg of nature there is something of the marvelous." - - Aristotle

"Art is born of the observation and investigation of nature." - - Cicero

"Art ohas direct ties with life, living, joy, the depth of our being human, just by being art, and therefore it needs no justification."

#inspiration #quotes

The Art of being Ambidextrous

Tue, 14 Sep 2010 22:14:25 GMT

Being able to do your artwork well with both hands is a valuable trait. I think more so for sculptors. When you are right handed then sculpting the left side of the face is easy, but the nose gets in the way when your working on that right eye. Solution: train yourself to use both hands equally well. Though both hands are used in blocking out the figure, or a portrait, artists tend to gravitate to the stronger and more skilled hand to work on the details and refining facial features. By forcing yourself to use the tool in your other hand, you will get as competent in your 'weaker' hand. Of course it takes some discipline and time and if you have deadlines looming on commissions you may want to fight this battle at another time, but the freedom, speed and flow of a sculpture is greatly increased by being ambidextrous. Another simple way to increase this trait is by doing simple everyday things with your less dominant hand,such as eating, brushing your hair and using your toothbrush -( I wouldn't recommend shaving until you've gotten to a confident level of mastery.) All these things will add up, and you will start seeing that you are becoming proficient with both hands in your artwork. This also forces more synapses between your left and right sides of the brain, and for the artist that is equally valuable. So keep working, ...on both sides.

"I am still learning" - - - Michelangelo at age 87

A Touch of all the Arts

Wed, 14 Jul 2010 22:14:03 GMT

When the Pope approached Michelangelo and asked (told) him to paint the ceiling of the Sistine chapel, Michelangelo's response was "I'm a sculptor, not a painter" However, we now not only have the gorgeous ceiling, but he was afterwards compelled to paint the wall behind the altar as well. Many artists throughout history were proficient in more than one area of the arts, though, most times they are only known for their expertise in one medium. Gianlorenzo Bernini (one of my favorite sculptors) is known for his incredible Baroque sculptures, however, he also painted (again, like Michelangelo, he didn't like it too much, so he never signed his paintings, there are only two extant works that we know he painted) he wrote operas, created opera sets (complete with special effects like floods and fires ) and composed musical scores! Ingres, an incredibly gifted (if cocky) painter was also an amazing vilolinst.

I have many friends who are professional viusal artists, and they all also have a musical talent: Mary Lane Reed and Steve Moppert are portrait painters, Mary Lane plays the piano and Steve not only plays the guitar but also refurbishes them.

It seems that artist's minds, already creative, also lend themselves to being able to 'pick up' other areas of art. However, most young artists can find themselves at a disadvantage with this aspect. They love to draw, and sing and act and write and .... they want to do it all. However, I believe the adage does hold true 'jack of all trades, king of none'. The truth is, we have only one lifetime. For me, I could have been a mediocre actor or dancer, I could have been a bit better at the piano or violin, or a so-so poet - I enjoy all those art forms and had some level of proficiency in them all... OR - I could excel in sculpture.

Find your strength and pour your heart in soul into that area. This doesn't mean that you can't gain some expertise in other areas of art, but you should focus on one area to have mastery in.

"Through all the world there goes one long cry from the heart of the artist. Give me leave to do my utmost." Isak Deneson, 'Babette's Feast"

#sculpting #quotes

Earth, Fire, Wind and Water

Wed, 07 Jul 2010 22:13:56 GMT

Before I started 'blogging' per se, I read a lot of artist's blogs, and subscribed to some. However, it seems that 99% of them are painters. So while a lot is applicable to me as a sculptor, some of it is not. So, I am enjoying writing something that - while it can speak to all artists - does have posts that relate to sculptors and potters, and this is just such a post----

One of the aspects I love about working in clay is that I am able to touch all the elements: earth, fire, wind and water. Each is very important and has to be reined in and controlled by the artist with a mastery of touch that comes only from long experience.

Earth - of course, is the clay. I have always loved that clay is always referred to as a clay 'body'. As Genesis states we were created from the 'dust of the ground', and also some tribes in Africa believe there is a different clay body for every race of people, I love the connection between the two. Since moving to Tennessee and having to find another clay supplier, I have been thrilled to find a clay body that pushes the limits of what I can do more than the clay I used in Mississippi. The properties of a clay body - strength, elasticity, memory (yes, clay has memory - after sculpting an arm in one position, if I move it and don't work with it through the drying stage it may try to move back. Potters see this more. It comes about from the alignment of the molecules in the position first sculpted, unless the clay is slipped back down, even if you move the clay after it reaches leather hard, the molecules are still lined up as they were previoulsy. so sometimes, as the clay continues to dry, it will try to torque back to the original place, unless, of course, you know all this and know how to work the sculpture as it dries - though sometimes a clay may surprise you in the firing by 'remembering') All to say, as I fashion figures from the clay - I see so much in common between the flesh and the clay body.

Fire - this of course, is the kiln. To become permanant, all clay must be fired to vitrification. I've used both gas and electric kilns. We use an electric kiln for sculpture and to bisque fire Robert's pottery. We use gas for the raku kiln. Potter's usually really get into this element, they like fire and like to experiment : wood kilns, salt kilns, primitive dug out kilns - potters are a breed unto themselves. For sculptures, we just want the peice fired and fired well.

Water - potters use water constantly as they work, as a sculptor I use a mist spray bottle. However, I'm using it to control the amount of water in the clay, not as part of my actual sculpting. As the sculpture is blocked out and I begin to sculpt details, I work with the clay as it starts it's journey towards reaching 'bone dry', the water keeps the clay at just the right amount of 'dryness' or 'wetness' for me. It's probably good too, to settle the clay dust, I use about a bottle a day when I'm working solid.

Wind - Now, where fire is more to potters than sculptors, I say wind or air is probably more on the sculptors side. Since sculptures do not have even thicknesses like pottery does, I work a lot with air to aid the clay in drying evenly. I pity the sculptors who had to live before the invention of plastic bags! I use them from the largest lawn and leaf bags, to the small grocery bags, and at times even small ziploc baggies - by wrapping smaller parts of the sculpture with plastic bags, and controlling the airflow from ambient air, to open windows, to using a fan - it's one of those poetic dances a sculptor does to dry a figure evenly. If a scupture dries without this attention, there is a tendency to have cracks and parts breaking off during drying.

So, as an artist, and not to goad all my painter friends too much (you all outnumber sculptors anyway!) I find that working with a medium that touches all the elements is thrilling and fulfilling.

Renior, in a letter to a friend:

"Sculptors are the lucky ones, their statues are in the sun and when they are of pure form, they are part of the light, they exist in nature like a tree, but for us, we are reduced to the indoors at the risk of existing for only a few days like withered flowers. Why did I become a painter since I'm reduced to admiring without ever imitating, except from so far, so far?"

and, as a nod to my painter friends:

"Painting and sculpture have the same parents; they are sister arts." - Praxiteles

Tracy H Sugg, Sculptor

Illustrated Bibles

Christmas Diptychs

Peacocks at Christmas

Paintings at Christmas

Sculptures at Christmas

Jewelry in Sculpture

John William Godward "The Signal"

Godward followed in the footsteps of the style and content of Sir Lawrence Alma Tadema. Part of the "Marble School," Godward continued to paint in this style until his death in 1922. In this week's Art Review we will look at his painting "The Signal." Image used Creative Commons License

Sculpture in Jewelry

Jean-Jacques Caffieri "Alexis-Jean-Eustache Taitbout"

Jean-Baptiste Carpeaux "Jean Leon Gerome"

Carpeaux was a sculptor who worked during the Romantic style of art history. His portraits were epitomized this era, and in this week's Art Review we will look at his portrait bust of one of his painter friends. Image used Creative Commons License

Color Sculpture with Texture

Peter Paul Rubens "The Entombment"

This is the second week in our review of paintings by Peter Paul Rubens, a Baroque painter. In this Art Review we will look at his painting of 'The Entombment." Image used Creative Commons License

Patinas for Stoneware

Peter Paul Rubens "David Meets Abigail"

Peter Paul Rubens, a Baroque painter that produced works throughout Europe. Rubens is one of my favorite painters from this time period and we will look at two of his paintings over these two weeks. This week's painting is "David Meets Abigail." Image used Creative Commons License

Artists as Storytellers

Albert-Ernest Carrier-Belleuse "Model for a Monument to Alexandre Dumas"

Carrier-Belleuse was a French Neoclassical sculptor whose style was described as more 'Baroque'. He created many monuments for Napoleon III, and in this week's Art Review we will look at one of his models. Image used Creative Commons License

Masters Studies

Nicolas Lancret "Dance before a Fountain"

Lancret was a French Rococo painter who mastered the fete galante genre. In this week's Art Review we will look at his painting "Dance before a Fountain." Image used Creative Commons License

History of Halos

Giovanni Battista Foggini "Study of Laocoon"

Foggini was a Late Baroque sculptor who worked for the famous Medici family. In this week's Art Review we will look at his copy of the well known antique sculpture of "Laocoon." Image used Creative Commons License

How do you Learn?

Alessandro Magnasco "Christ and the Samaritan Woman"

In this week's Art Review, we will look at an Italian painter who lived and worked during the Baroque and Rococo eras, creating his own unique combination of the two artistic styles. Alessandro Magnasco and his painting "Christ and the Samaritan Women" Image used Creative Commons License

Bases for Sculptures

Francesco Antonio Franzoni "sketch of a fireplace overmantel"

Though known as a restorer of antique sculptures for the Vatican, Franzoni also created artwork for the politically illustrious Braschi family. We will look at his clay sketch for an overmantel in this week's Art Review. Image used Creative Commons License

Increased Perception

Claude-Joseph Vernet "Calm at a Mediterranean Port"

Interview with Larry Willard - Woodworker

Unknown Early Roman Sculptor "Curraised Torso"

The Importance of Structure

Franz Xaver Winterhalter "Princess Leonilla"

Watercolor Field Sketches

Jean Raon "Jupiter"

Lamb of God Sculpture

Sebastiano Conca "Adoration of the Shepherds"

Interview with Dr. Matthew Miller - The Theology of Beauty - Part 4 of 4

Nicolaes Maes "Adoration of the Shepherds"

Interview with Dr. Matthew Miller - The Theology of Beauty Part 3 of 4

Augustin Pajou "Minerva"

Interview with Dr. Matthew Miller - The Theology of Beauty - part 2 of 4

Augustin Pajou "Ideal Female Heads"

Interview with Dr. Matthew Miller - The Theology of Beauty - Part 1 of 4

Art Review - Murillo "Two Women at a Window"

Art Review - Houdon "Louise Brongniart, Aged Five Years"

Sculptor's Muse - Art of Patience

Decorative Arts

Art Review - Murillo "Return of the Prodigal"

Sculptor's Muse - Sculpting Tools and Smock

Art Review - Carrier-Belleuse "Bust of Murillo"

Sculptor's Muse - Sketching at a Museum

Art Review - Gentileschi "The Lute Player"

Sculptor's Muse - Influenced by Rien Poortvliet

Sculptor's Muse - Influenced by Dr. Sam M. Gore

Art Review - Molin "Knife Wrestlers"

Sculptor's Muse - Interview with husband, Robert III

Sculptor's Muse - Light

Art Review - Laurana "Female Portrait Bust"

Sculptor's Muse - Painting & Sculpture - Sister Arts

Art Review - Claesz "Still Life with Peacock Pie"

Sculptor's Muse - Art of Changing Seasons

Art Review - Lucas "Nativity" Ivory Relief Sculpture

Sculptor's Muse - Christ Child Sculpture

Sculptor's Muse - Symbolism in the Nativity

Art Review - Mengs "Adoration of the Shepherds"

Sculptor's Muse - Symbols of Christmas

Art Review - Madonna & Child Icon

Sculptor's Muse - History of the 12 Days of Christmas

Art Review - Veronese "Annunciation" painting

Sculptor's Muse - Trompe L'oeil Painting

Art Review - Hagenauer "Model of a Pieta"

Sculptor's Muse - photography vs models

Godward followed in the footsteps of the style and content of Sir Lawrence Alma Tadema. Part of the "Marble School," Godward continued to paint in this style until his death in 1922. In this week's Art Review we will look at his painting "The Signal."
Image used Creative Commons License

Carpeaux was a sculptor who worked during the Romantic style of art history. His portraits were epitomized this era, and in this week's Art Review we will look at his portrait bust of one of his painter friends.
Image used Creative Commons License

This is the second week in our review of paintings by Peter Paul Rubens, a Baroque painter. In this Art Review we will look at his painting of 'The Entombment."
Image used Creative Commons License

Peter Paul Rubens, a Baroque painter that produced works throughout Europe. Rubens is one of my favorite painters from this time period and we will look at two of his paintings over these two weeks. This week's painting is "David Meets Abigail."
Image used Creative Commons License

Carrier-Belleuse was a French Neoclassical sculptor whose style was described as more 'Baroque'. He created many monuments for Napoleon III, and in this week's Art Review we will look at one of his models.
Image used Creative Commons License

Lancret was a French Rococo painter who mastered the fete galante genre. In this week's Art Review we will look at his painting "Dance before a Fountain."
Image used Creative Commons License

Foggini was a Late Baroque sculptor who worked for the famous Medici family. In this week's Art Review we will look at his copy of the well known antique sculpture of "Laocoon."
Image used Creative Commons License

In this week's Art Review, we will look at an Italian painter who lived and worked during the Baroque and Rococo eras, creating his own unique combination of the two artistic styles. Alessandro Magnasco and his painting "Christ and the Samaritan Women"
Image used Creative Commons License

Though known as a restorer of antique sculptures for the Vatican, Franzoni also created artwork for the politically illustrious Braschi family. We will look at his clay sketch for an overmantel in this week's Art Review.
Image used Creative Commons License