In a masterclass led by Niyamat, students dive deep into the intricacies of human anatomy, beginning with the skull. This workshop is designed to guide participants through a detailed study of structure, form, and texture, ultimately enhancing their ability to create lifelike portraits in clay.
1. Your upcoming masterclass focuses on sculpting the human skull. What inspired you to choose the skull as the centerpiece for this workshop, and what significance does it hold in your artistic practice?
This intensive masterclass offers students sculpting experience of the human skull and the human head from life. Students start the course by working to develop an anatomically convincing human skull, using visual constructive tools to gain an understanding of the anatomy of the head. They apply the newfound knowledge to sculpting two portraits in clay from live models. Regular demonstrations and individual critiques guide students through basic and advanced concepts of the portrait, light and form, and anatomical and proportional canons to analyze depth and gain a visual understanding of contour movement in space. Particular emphasis is placed on developing a structured thought process for deconstructing visual information and creating a methodical approach for translating anatomical information convincingly in clay. Throughout the workshop, students will be guided through a comprehensive investigation of the human form and ultimately equipped with the tools to intelligently compose an accurate and convincing portrait in 3 dimensions.
2. Can you elaborate on the key techniques and skills participants will learn during this masterclass? How will these skills enhance their understanding of anatomy and form in sculpture?
By the end of this masterclass, students will be able to skillfully translate complex forms in clay with precision. The curriculum is technically focused, centered on studying the underlying structure of the skull from various angles. Understanding anatomy is essential for figurative and portrait sculpture, as it enables students to grasp the body’s framework, or in this case, the skull. We employ a method known as “Drawing in Space,” a technique conceived by Robert Bodem. Having undergone extensive training in this technique during my time at The Florence Academy of Art, I feel confident in teaching it to beginners.
3. For students who are new to sculpting or anatomy, what challenges do you anticipate they might face, and how do you plan to guide them through these during the workshop?
Challenges are inevitable. For beginners in sculpting, I suggest taking a slow, steady approach and keeping the surface of your sculptures simple. While the process may feel overwhelming, following the correct steps and techniques will enable you to create well-proportioned, structurally sound pieces. I have worked with students of all skill levels, from complete beginners to those with experience. Regardless, I always encourage hard work and consistency, as these lead to long-term results. When a new student joins the masterclass, I guide them through the process step by step in detail. Afterward, I assign a project, which is critiqued regularly, along with live demonstrations for added clarity. The main quality I seek in students is a willingness to learn and make progress, the rest will follow with time.
4. How does working with the human skull as a subject contribute to the broader understanding of form, structure, and texture in sculpture?
Portraits, whether in painting or sculpture, have historically played a vital role in preserving likenesses, often symbolizing wealth, status, and taste. Today, we admire some of the greatest portraits ever created, valuing them not only as works of art but also as important tools for studying human anatomy and expression. For me, portraiture remains one of my favorite forms of sculpture. Working with the human skull reinforces the technical foundations of portraiture, which is an essential aspect of an artist’s portfolio. In my teaching, we begin by thoroughly understanding the anatomy of the skull, including its muscles and bones. As the process progresses, we modify this knowledge to study the expressions of the face.
5. As a sculptor with a rich artistic background, how do you keep evolving your craft while also sharing your knowledge through workshops like this one?
I believe teaching is a powerful way to learn and grow. There is so much to gain from the perspectives and experiences of others. My inspiration mainly comes from observing and studying the works of various artists. To continue growing, I focus on exploring the work of different artists and reflecting on their stories. Whenever I travel, I make it a point to visit museums and galleries, which broadens my horizon. Being part of a strong artistic community is equally important, and I feel incredibly grateful and humbled by the communities I’m connected with—such as The Florence Academy of Art, Sotheby’s, and the colleagues and friends I’ve met along the way.
6. Looking back at your journey, were there any particular mentors, artists, or experiences that played a significant role in shaping your approach to sculpture?
I’ve been fortunate to have mentors who have become more like friends now. I believe that everyone I’ve crossed paths with has played a pivotal role in my growth. One of the greatest lessons I’ve learned is the importance of continually making progress and embracing the Greek concept of “Meraki,” which means to do something with soul, creativity, and love—putting a part of yourself into everything you do. Being part of a strong artistic community is important, and I feel incredibly grateful and humbled by the communities I’m connected with—such as The Florence Academy of Art, Sotheby’s, and the colleagues and friends I’ve met along the way.
