Category Archives: representational

A Ceramic Portrait Bust

A completed ceramic bust of a handsome African man

Portrait bust by Lucy Mellersh

A ceramic portrait bust needs to be hollow in order to be fired in a kiln, it can be made in two different ways: either as a solid mass which is later hollowed, or it can be built directly as a hollow form.

The method I’ll show you here is building up the bust as a hollow form. It’s a good choice if you know from the outset that you’ll be firing it, rather than using it as a basis for a cast, for example in Bronze.

Hollow building has the advantage that you avoid potential damage during the hollowing process. However, because of it being hollow, you need to work in a different way than you may be used to. Creating the sculpture from the bottom up. You are able to adjust it later, but it’s good to be as accurate as possible as you go along.

Start with good water-based clay that has a high grog content, the grog makes it more stable and reduces shrinkage.

The H-shaped base of a clay bust


Use a wire to cut thick strips of it straight from the bag and form an H shape as shown here. The front and back are the chest and shoulder blades of the bust. Think of the middle line as a kind of backbone for your bust, it will stabilise the structure right up into the head.

Keep building up, layer after layer, making sure to join the strips by squishing them hard and avoid trapping air.

A column of clay as a temporary pillar inside the arch of the shoulder.

When you reach the top of the shoulders and want to join front and back, you may have trouble keeping the stability for the arch of the shoulder, it helps to build a temporary pillar to support the damp clay of the shoulder.



Partially made sculpture showing shoulders and necking the

Build up the shoulders and neck, keeping a careful eye on your subject to capture the individual details of the muscles and bones in the neck which can be particularly beautiful in young people. This is also a good time to add clothing details or jewelry.


Continue building up the neck and chin, keeping the centre partition.


process3At this point, I find it helpful to create an accurately proportioned profile on the middle partition to use as a guide.

Check to make sure the neck and shoulders match up properly to the profile of the head.




partially made bust showing centre partition with pinpricks


Slowly work outwards from the profile line to create the chin and mouth area, then gradully work on the width of the nose.

I like to pinprick the centre partition as I go along, this allows any air bubbles to escape during firing.



Partially finished bust showing a man's brow, nose, mouth andchin.


Once this is all in place, focus on getting a likeness in the nose and mouth area.


Keep the model damp by spraying frequently with water and by wrapping the bits you’re not working on in plastic bags.





I complete the cheeks and back and sides of the head before I start working on the eyes.









As the lower parts of the sculpture harden, they can usually take the additional weight as I build up the bust.

However, the face may get rather heavy for the neck of the sculpture to hold up, so I like to rest the chin on a support as I work.




Once I’m happy with the face, I finish building up the back, sides and top of the head and then close the sculpture at the crown.






When the head is complete, and before I work on surface textures or details, I pinprick through to the inner cavity on the entire sculpture. The pin-pricking ensures that any air bubbles I may have trapped can escape during firing.


I smooth the surface, create the texture details and let the whole thing dry very slowly before firing.

Exhibition 9-11 Sept 2016

I’ll be exhibiting on September 9th – 11th at the Haimhauser Open Art here in Germany. It starts at around 8:30pm on the Friday evening, is open on Saturday from 3pm – 8pm and again on Sunday from 11am – 6pm. There’s a grand opening in the Kulturkreiskneipe from 7pm on the Friday where the charity sale items will also be on display.

Toro relief in plaster

Toro relief in plaster

I’m putting a white Toro into the charity sale, this is inspired by the Picasso print shown below. This print is the fourth in a series of 11 increasingly abstracted lithographs of a bull. With my Toro relief, I’ve tried to reimagine the bull in 3D. I’m pleased with the bulk and sense of power that this sculpture evokes.


Breastfeeding Project

This is a work-in-progress!


I’m currently working on a breastfeeding project. I’d like to show that special view that only the mother gets, looking down on her baby as it nurses at her breast.


Mothers and babies are often depicted in art, particularly in Madonna and Child sculptures which are so popular in the Catholic tradition, but nowadays Mary is rarely shown feeding baby Jesus.

I feel strongly thatĀ images of breastfeeding should be acceptable. I was lucky enough to bring up my kids in Germany where breastfeeding in public has been accepted without a second glance since at least the mid 1980s, but I am aware of the stigma surrounding public breastfeeding in the UK and the US.


In these ceramic “sketches”, I’ve reduced the mother to an arm, a shoulder and a breast. This is not to denigrate her, but to concentrate the focus on the baby and the contact between the baby and the breast. Babies suck surprisingly hard and take a lot of nipple into their mouths. Their chubby little cheeks are full of sucking muscle and they grow so fast with all that goodness.

To give birth and to breastfeed are amazing experiences. I want to celebrate them here.