The finished maquette.
There are thirty separate parts that make up the maquette, including the bars and cams at the back of it.
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Of course there is none of the stretch and compression of real flesh. The card is unyielding. This is what I celebrate in the maquettes by frequently showing their angularities and segmentations in the paintings I make, but also fight against by finding ever-increasingly ingenious ways to make plausible movement. I both celebrate the flattening out and awkwardness, and continue to tinker with it, to extend the possibilities of the maquettes, and it’s probably the tension between these two that pleases me most. I want them to be real and not real at the same time. Convincing, and unconvincing. Puppets are always at their best when they are being puppets, and not getting too close to being the real things they imitate.
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It’s complicated. But then all the best things are!
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And the technique really comes into its own in my search for expressive movement.
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