Unsure what to sculpt next, I sit with the sculpture and knead the clay in my fingers. Like Kynda Barry advised, keep moving your hands and allow the image world to begin to communicate with you. It’s a surrendered trust that the hands know more and to get my head out of the way.
I started covering the remaining exposed wood on the neck area. Then, turning the piece as I covered it with clay, the next step revealed itself. The story of the helmet had more to say — front flaps along the side of the face with buckles and rivets, tiny stitching details along the seams, and scuffs in the leather. I’m so thrilled with how these additions bring her personality to life.