Making a hollow piece (a technique we will demonstrate in the workshop's introduction) involves considering the interior as well as the exterior of the form. In the Japanese ceramic tradition, emptiness is constitutive; it is a material with which the ceramist works. What if the boundaries between interior and exterior were disrupted by the sculptor? What if we imagined a reversible sculpture? Or more generally, how can we let emptiness permeate our practices? 
 
Polychromy will also be at stake during the workshop, while color is specific to ceramic sculpture. All shapes will be thought through their color(s).
 The body is not directly represented, but it is omnipresent. It becomes animal, blends within the plant, the mineral, or the organic. It fragments and no longer offers a "human figure."It is the feeling of the body that is constantly evoked. Modeling, inspired by the observation of living things, allows one to learn to see and become aware of the questions of sculpture because it is above all an observational technique.In front of nature, the student sees shapes, proportions, directions, lines and tensions. One is directly confronted with sculptural issues (scale relationships, rhythm of forms, relationship to the base (pedestal), texture qualities, their way of catching light, the presence of voids, modification of the surrounding space, etc.) This class will question its own "conventions" and becomes a territory of experimentation and discovery. Some clay and glaze are included in fees, additional materials may need to be purchased.