# data[].attributes.body
Being very concept driven as a graphic designer I decided to challenge myself and create a ceramics piece with no end purpose or application set in stone during the initial stages.
It was clear to be from the beginning of this project (having changed direction previously from the theme of worship) that I wanted to focus on an example of Irish wildlife and not an exotic animal. I chose the Red Irish Fox as the subject matter for this workshop.

# data[].attributes.body
"The red fox is Ireland’s only member of the Canidae family. They are easily recognizable by their small doglike appearance. Coloration consists of a reddish to brown tint with a long bushy tail often with a white tip. The underbelly consists of a white to grey texture, black markings are present on the ears, feet and whiskered muzzle. The coat is moulted in spring with a second phase of hair growth occurring in the autumn to produce a heavier winter coat. There are variations in colour with some individuals having darker or sliver tinted coats. The body is long and sleek with a pointed head and muzzle with sharp pointed upright ears."
http://www.conserveireland.com/mammals/red_fox.php

# data[].attributes.body
I chose to create a 3D clay sculpture based on the Red Fox. Growing up in the countryside every so often you would see on of these in the fields or on the road late at night. As an intriguing creature; seen by some as a tame dog like creature and others as a stalker of prey and dangerous animal, I decided to use clay to capture the essence of the animal.

# data[].attributes.body
I started off by rolling out a slab with a rolling pin. I found that with using the wooden rolling pin it was more likely to get stuck to the surface and found that the rolling pins that spin were easier to use.

# data[].attributes.body
By looking along the sides of the slab it was easy to see that equal pressure was applied over the entire slab during the rolling process. One thing that I would do differently in future is to cut all edges straight before rolling with the newspaper. I found that when I rolled the slab with the rougher edges that it was harder to join once rolled.

# data[].attributes.body
Example of how not cutting straight edges on the slab can lead to the block being more difficult to join and holes appearing. If these holes were to be filled in this state there would be uneven lumps of clay and this could lead to collapse at a later point.

# data[].attributes.body
Starting to shape the body of the fox, focusing on the back.

# data[].attributes.body
I created a separate slab stuffed with paper and joined it to the initial tolled slab. It is at this point that the clay s started to look more like an animal.

# data[].attributes.body
Having discussed the possibilities regarding firing and support, I decided to remove a significant portion of the back of the fox and focus solely on the area of body from shoulders to snout. This allowed for the clay sculpture to support its own weight a lot easier.

# data[].attributes.body
Having applied the ears and started to shape the face it became clear to me that the fox was starting to look a lot more like a pig.

# data[].attributes.body
I chose to reshape the ears and carve into the ears creating a more 3D effect. Similarly I started to focus a lot more on the snout of the fox making it more elongated.

# data[].attributes.body
It became obvious to be in my development o the clay fox that texture would be key to differentiating it from any other animal.

# data[].attributes.body
The rough impressions made by my fingers on the fox created a fur like texture on the fox. I chose to keep several areas of the fox completely smooth creating a strong contrast. This could also relate to the different personalities of the fox, as a timid creature and a hunter.

# data[].attributes.body
Removing paper which was used to support the clay when it was in a plastic stage. Now that the clay sculpture is in the leather hard stage and the majority of construction is completed paper is removed. I created a hole just below the head of the fox in order to remove the paper inside - this hole was then covered in with clay.

# data[].attributes.body
I had considered stylising the paws of the fox a lot more however it was clear that this approach didn't look to be consistent with the overall style of the fox. I therefore decided to treat the paws similar to the foxes chest and face, creating an extremely smooth surface in contrast to the fur effect.

# data[].attributes.body
Having wanted to capture the essence of the fox in the moment I decided to have one of the foxes paws folded back as if he is either in mid air, sneaking up on prey or startled.

# data[].attributes.body
The contrast in surface approach also hint at the different personalities of the fox. The rough surface (wild nature of the animal) in stark contrast to the smooth (collected and endearing) approach.

# data[].attributes.body
I was very reluctant to add eyes to the fox as I am not very confident recreating eyes. I therefore decided to create subtle stylised eyes which are slightly carved.

# data[].attributes.body
The final placement of the fox adds to the overall idea of being 'caught in motion'. When working on the clay sculpture I placed the fox at an angle both to allow the sculpture to support its own weight and to also emphasis that something is about to happen; is the fox stalking its prey or in mid air.

Another thing which came to mind towards the end of my sculpting is that the composition of the fox could work nicely as a wall mount with the fox looking down on the viewer. This could also relate to the hunting of foxes which still happens in parts of the country, the fox coming out of the wall could create a link trophy hunting and how poachers proudly display animals - normally exotic ones on the walls of their homes!

# data[].attributes.body
Laura Ann chose a similar subject matter to my own. In creating a squirrel Laura Ann managed to combine material and with intricate detail created the squirrels tail using small sticks. This again links into the squirrels natural habitant - being found normally around wooded areas. If I was to have more time on working with my piece I would like to use a similar approach to Laura Ann and include another type of material to reinforce the visual. Perhaps adding subtle whiskers to the fox with wire.

# data[].attributes.body
Jennifer chose to continue with her focus on metamorphosis and the play on dark fairytales. The transformation from man to werewolf is brilliantly captured here you can really see the transformation taking place. The expression on the figures face shows the pain of transformation, there is a great emotional quality to this piece. There is intricate texture found on the cloth which covers the mans head and the piecing together with hooks adds to the dark nature of this clay

# data[].attributes.body
Trudie managed to combine both human and plant life through her clay piece. The fungus growing up from the wrist along with the ivy which has began to creep up the hand presents a dark feel to this piece with similarities to the work of Jennifer Shaughnessey. Trudie however presents a more subtle treatment of the clay and from a certain angle you could almost be fooled into thinking that it is a normal hand.

# data[].attributes.body
From my initial research into the creature it became evident that I would need to differentiate my clay sculpture from that of a dog - given the likeness of the creature. Colour would be key here along with texture of the fur to ensure it resembled the red fox and not a domestic dog.

# data[].attributes.body
The image of someone holding a Red Irish Fox dispels the suggestions that they are vicious creatures. Similarly on numerous occasions when in Dublin I would see them in green areas alongside people coexisting. I therefore wanted to show two sides to the creature, I decided on creating a composition that allows the viewer to determine the personality/ actions of the fox

# data[].attributes.body
It is clear that stance is important in these clay pieces and this differentiates Charles Vess' fox sculptures from any other domestic dog. The almost natural (handmade) approach to create the fur effect is something which I will look into when applying the texture in my clay piece. Perhaps use of a certain type of brush could given this desired effect.

# data[].attributes.body
Charles has created many sculptures of different animals over the years many of which present a subtle yet effective texture. These pieces although made in clay where then to be cast in bronze to be added to a fountain display alongside other creatures and fantasy figures.

# data[].attributes.body
Ellen uses metal, clay and paint to create very intricate animal sculptures. The creatures natural habitat can be clearly seen intertwined with the animal form. The use of colour here really draws you in and creates a realistic feel.

# data[].attributes.body
The use of placement and composition of the sculpture adds a sort of movement to to the static piece. There could be an opportunity to have the fox in mid air suggestive of movement and being in the moment .

# data[].attributes.body
This example of a ceramic sculpture by Ellen Jewett captures both the natural habitat of the fox and also movement. We can see that the foxes back morphs into several tree branches and other natural growth- linking into its natural environment. The inclusion of several birds creates impact as they are not initially noticeable, they also add movement to this piece. Perhaps I could create texture using pieces of found wood to relate my clay piece back to the animals natural habitat.