Sculpting from the live model has many intellectual tricks. For one, you must overcome the fact that the model is constantly shifting position in subtle ways and any representation is a summary of a broad range of muscular-skeletal adjustment. The sculpture is not a copy of the figure, rather it is a culmination of effort regarding the figure. A large part of that effort is an internal dialogue, choosing what is a keystone of anatomy, and what is an anomaly of a plane-break, or a momentary shimmering of anatomy that may be ignored or included. And twin to any anatomical concern is the mass, balance, and weight of the figure as structure. The figure is a complex puzzle and one that I have always enjoyed engaging, as it remains the most difficult of any sculptural form.
This 1/4 life size figure remained as a clay form for years. I nearly ripped it down, but decided to pull a mold from it while I pulled a mold from the 1/2 life size Woman with Heavy Ball. The mold traveled for a few years with me as I moved across the country a bit, then finally was rough-cast in 2011 at a local foundry. I then welded and chased the figure. I'm glad I didn't tear it down, as it has a pleasing liquidity to the anatomical structure. The model was a dancer, and his graceful strength lent itself to the flowing sense of final form.