These are two different views of the same hand, taken at different times.
I probably have picked this hand up and worked on it a hundred times. I'm a plugger.
Each time it slowly improves, as do the other hands. On the lower photo you can see the water beading up on his hand from the fountain.
Peg Hilliard gave me some critical advise 19 months ago, and that is that you bring a sculpture along, all together. You don't
try to finish one part and then work on another. This allows me to constantly make slight
adjustments to the composition, play with the hand in a dozen positions, play with the fingers
to try to get the most out of each gesture, and to play with how one hands energy interacts with
another hand. If I went ahead and spent x hours finishing one hand, I'd be afraid to move it
around, to experiment with the fingers. Every time I move a finger, I move a knuckle, and
so on, soon detail is lost and that is frustrating, and yet essential in my effort to take this
sculpture to its most pregnant, expanded self. So often to get one step ahead, I have to take
one step back and two steps forward, or sometimes two steps back and three steps forward, (the dance of sculpture.)
Remember, this is my first formal sculpture, and I want
it all, and I am willing to pay the price!
