Spotlight On: Virginia Lloyd-Tait, sculptor & TBSSS alumni

Archival image of Virginia sculpting in the Studio

Name: Virginia Lloyd-Tait

What years did you attend classes at TBSSS?

I attended regular classes from1996 - 2016. I was one of the original board members from the time TBSSS became an incorporated association in 2003 until 2016. I still attend special workshops today.

What was unique about your TBSSS experience?

It was Tom's philosophical discussions about sculpture and life which formed so much of his teachings, and they still influence me in all aspects of my life, but especially with my creative endeavours.

What was your first impression walking in to TBSSS at Broadway?

Walking through a doorway off a back lane in Broadway and up those rickety wooden stairs opened the door to a new world for me. It was a unique warehouse space held up by huge wooden beams with light shining down from windows in the roof. It was located above a shoe shop. You felt as if you were in a New York studio. I worried that perhaps I didn't belong in this space with all these real artists. It was an amazing studio: Tom's room with a bed in the corner; a library of books and lounge chairs to read in; sculptors working at benches on their various projects - no two sculptures the same - learning in a creative community of like-minded souls.

What was your first impression of Tom?

I was intimidated by Tom, for sure. Here was this regal, renowned sculptor dressed in his white clothes, walking through the studio assessing each person's work with such expertise and a library of knowledge to guide how each sculpture should progress. 'Take a bit off here", he'd say, then using the "Tom thumb" he would press the clay into the position it should be and suddenly the sculpture instantly looked better.

What is your fondest memory of Tom and the Studio?

Tom had the enthusiasm of a small child. He was still excited to be learning - even in his later years. I remember him, well into his 90s at this point, mixing the pigments for me to create a particular patina. He said he had only recently discovered this particular mix and how much he was looking forward to using it.

How have your studies at the TBSSS prepared you for your practice?

By having learnt the classical methods of sculpture making I was provided with a foundation to understanding form that allows me to be as creative as I wish in future artworks.

What is your favourite medium to work in?

My first love is clay, and I still love that sensation of having your hands in clay and creating through that medium. However, for the last few years I have been carving in marble, and I have enjoyed the polarity of the mediums, hard and soft, warm and cold.

What lessons / skills / concepts have stayed with you from your time at TBSSS? 

People often ask me, "when do you know your sculpture is actually finished", and I always quote Tom. "Tom said you know the sculpture is finished when you know it is the best you can do (at that time)". I studied under Tom for more than 10 years and I think each part of the process of sculpture requires learning, understanding and gaining new skills, from the vision, the structure of the armature, the marquette -making, the enlarging of the sculpture, the making of the mold, the final plaster and then the alchemy of the patina. Each step prepared me for my future as a sculptor. I hope I understand form much better. It took me a long time to understand what Tom meant by "form".

What inspires your practice today?

I want to create a sculpture which evokes an emotional response from both me and the viewer.

Tell us about the works you are exhibiting as part of the 50th exhibition:

Jenny - bronze

My sister and I grew up without a mother from the ages of 4 & 6 so we were extremely close. She died in 2001 and I wanted to create a portrait that represented her essence, not just a single moment in time, but of who she was through a multiple decades. Tom was integral in guiding me through the emotional journey of creating this extremely personal work .

Draped Torso - marble

I have always been fascinated with drapery, as a textile, as well as when recreated in clay or marble. With marble you are restricted by the size and shape of the marble. The stone itself contributes to your final work without you having much control or say. It's a silent collaborator. The torso is white marble and the drapery in this sculpture is actually a light grey. The stone just revealed itself that way and worked out perfectly.

Thank you Virginia!