Zoë Suenson-Taylor was one of two Academy students to try her steady hands at stone carving last summer. Part of the Carrara, Italy residency, Zoe created a sculpture that will make its American debut tonight at ABC Stone’s Brooklyn headquarters. Hours before the unveiling we caught up with Zoe to get an insider’s view of the residency and experience in Italy. This is part one of the two part post.
NEGOTIATING HISTORY in CARRARA by Zoë Suenson-Taylor (MFA 2013)

Every morning we were expected to be at the Corsanini Studio and stone yard by 8:30-9:00am, so we were up for breakfast by 8:00am. After changing into work boots and a respirator, ear defenders and shaded safety glasses, we got to carving. The set up was perfect. The stone yard is outdoors and is open on all sides so there’s always a breeze. There is a spectacular view up to the quarries and a grand sense of space. There were cranes and forklifts and lots of strong muscles that made the stone seem weightless. After working for a few hours, all the artisans from the studio ate lunch together upstairs. Lunch was always a gorgeously, simple Italian meal of pasta and sauce, a salad picked from Massimo’s garden, sometimes cheese and meats or a home cooked meat dish, a small glass of red wine, occasionally chocolate and a shot of grappa to conclude the meal. I always left the table with a spring in my step. We then carved until last light, about 7:00-8:00pm. Marina de Carrara is very close to the coast so we’d refresh in the sea with the very last rays of sun and then sample a pizza place with their own special secret family recipes for dinner until going to bed from sheer exhaustion. This was my routine, six days out of the every week, for the two and a half weeks I was there. Needless to say, it was the most demanding art experience I’ve had.


Having the head on the angle and the right arm raised meant it was also extremely hard to get access to the neck and clavicular region. I didn’t start with a very good bozzetti. I actually took two maquettes to Italy, as I thought they both had accents of the idea I was trying to reach; An idea of a sneeze and what controls it. I enjoy the ambiguity of the lost yet hopeful moment one has to resign all control in an anticipation of the impending relief. We began putting mastic points on one bozzetti and I’d say, “Oh, that needs to come out”, “There’s actually going to be a bit more there”, “Yeah, I don’t want it to quite be like that.” I saw all of the imperfections amplified as I went.
I thought after ten days on the residency my carving was really looking like my model. Two days later I stopped measuring points and steadily unified masses blocking out the larger forms and constantly drew on the piece. By the end of our time in Carrara my fat head with a sock on it was almost finished. An educated estimate proposed it might take another three to five weeks to complete. I’m sorry not to have completed it in Carrara. Before coming home, I was already dreaming of when it would be shipped back to the States so I could finish it.

With my next stone carving I will start from a fully realized piece. Something that is ordered in it’s dimensions, thorough in its proportional relationships, designed to the smallest degree the formal relationships and completely evoking a soulful style complimentary to the idea. I now see how important it is to be committed to the formal construction, so accurate points can be taken as it is scaled up. The sculpture will naturally evolve with the amplification of size so there is more space, more area of possibility and more decisions. Once the key structural positions have been reached in the carving, I think it is important to work freehand. By having a fully investigated guide in the form of the fully realized bozzetti, I will save so much time!
Stay tuned for the second part of Zoe’s reflection on her experience in Carrara.
To learn more about the Carrara residency please visit the Residency page on the Academy’s website