Sculpture

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	*Sculpture Modelling*

	When “Sculpture” is mentioned, most people envisage at least one piece, bringing to mind well known examples such as the “Venus de Milo” or “ Michael”. The 20th Century produced many even more well known pieces by a wide variety of Artists, including such greats as the UK’s Henry Moore & Norway’s Gustav Vigeland (Left).

		No matter how skilled the sculptor, or how non “representational” the piece is, Artists generally prefer to work from a *LIVE* model.



However, modelling for sculpture requires disciplines not practiced elsewhere in the model’s repertoire. By the very nature of the genre, the model must obviously be able to sustain the same pose for long periods of time, over spans of days or weeks, - returning to it again and again. This places great strain on the model’s musculature and concentration, both taking concerted training to achieve.


	Despite this physical limitation, the model must still be capable of delivering dynamic poses that will inspire the artist. Rosemarie’s continuous physical and mental training ensures that she is able to satisfy these requirements and to maintain her reputation as an “Inspirational Model” in this demanding field.




	Sun Aug 22
	Sun Sept 19
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	Sun Nov 28


	SCULPTURE CLASSES

		As such, sculptors from the USA and mainland Europe as well as from the UK, are turning to Rosemarie to collaborate with them as her reputation in this genre continues to spread. Rosemarie’s skill set also enables her to work closely with sculptors who strive to impart their skill and experience to Students of the Art form on a “One to One”, or more conventional Class Room environment, for “Whole Body” work such as seen to the left in a Class for Great Missenden in Buckinghamshire, or for “Parts work” (Head and Shoulders, foot, Hand etc.)


		WAXWORKS & MUSEUM SCULPTURE

	Surprising though it may be, sculptors often use “Body Doubles” (when producing Wax Works - or pieces for display in museums) to ensure that anatomical detail and musculature is correct - even though the eventual piece will probably be clothed. This is to ensure that the clothing hangs correctly on the final piece and delivers as much of the “Illusion of life” as possible. Rosemarie’s sharply defined musculature and toned anatomical detail are ideal for such work as can be seen to the right where Douglas Jennings used Rosemarie as a model to deliver the correct structure for this piece of a European Monarch, now on display in a major European Museum.


	MODELLING FOR COMMERCIAL SCULPTURE

		A sculptor working on an individual commission for a client or to produce a master for a limited edition Bronze has pressures upon them that must not be reflected in the piece on which they are working.

		The model has to work closely with them to be the catalyst to their skill set, to be their inspiration.


	To ensure the model’s effectiveness, they must be in top mental and physical condition, elements that included in Rosemarie’s rigorous daily exercises scheme carefully designed to maintaining her in peak condition - which also ensures that she is in demand as a Fitness Model of course.

Seeing the completed piece can be a revelation and pleasure, however, it is often one that is at the end of many months of strenuous, monotonous immobility for the model as the artist works with increasing focus on detail.

Hence as time progresses, it becomes more and more important to return to and hold the same pose - no matter how arduous or uncomfortable the pose.

This ability takes a great deal of constant mental and physical training and is an ongoing, central element of Rosemarie’s regimen that ensures that she is always at the top of her game.


	It is also an element of why Rosemarie is recognised as an *“Inspirational Model*”. If you would like to discuss Rosemarie working with you as a model for YOUR sculpture - or Sculpture class, please use this link to contact her:-