Workshops and visiting artist opportunities are important to my studio practice and pedagogy. It helps me to constantly refine how I convey ideas to students and keeps my teaching fresh. I have been fortunate to work with some amazing students through these workshops that I would otherwise not have met.
Please see Workshop and Visiting Artist Events page for detailed information about the workshops I offer. Feel free to contact me at richardwjames01@gmail.com if you have questions or would like to schedule with me.
Visiting artist, lecturer, and demonstrator for the students of PUFW.
Visiting artist, lecturer, and demonstrator for the students of KU. Co presenting with Jamie Bates Slone.
Demonstrating with Jamie Bates Slone.
Putting on hair.
The Ceramic Figure Dissected:
Instead of tackling the figure holistically, this workshop aims to dissect the figure into easily approached components: the head, hands, feet, and torso. This method of study allows the student to attain a more intimate understating of each aspect of the body. The ability to rotate, inspect, and work on each body part, free from a standing figure, can lead to the greater understanding of each aspect of the figure. Through demonstrations and discussions, the student will gain an anatomical understanding of each body part. By the end of the two-week session, students will leave with knowledge of all the correct proportions and elements of the human figure, ready to be assembled for a grand sculpture of their own or to keep as a reference for future ceramic sculptures. This class is open to all skill levels
Visiting artist, lecturer, and demonstrator for the students of OU.
Posing to demonstrate visual lines of the body.
Bowling Green, OH
Visiting artist, lecturer, and demonstrator for the students of BGSU
Layton, NJ
Please join me for a five-day workshop focusing on the human figure in clay in the beautiful woods of New Jersey. This should be a good one.
Instead of tackling the figure holistically, this workshop aims to focus on two of the most expressive aspects of the figure: the head and hand. By working on parts individually, students will attain a more intimate understating of each aspect of the body. The ability to rotate, inspect, and work on body parts, free from a standing sculpture, can lead to a greater understanding of each of these challenging aspects of the figure. Through demonstrations and discussions, the student will gain anatomical understanding as well as aesthetic considerations. By the end of the workshop, participants will leave with knowledge of all the correct proportions and elements of these human extremities, ready to be assembled into their own sculpture or to keep as a reference for future ceramic sculptures.
Hays, KS
Visiting artist, lecturer, and hands-on workshop for students of FHSU
Explaining the bone structure of the thumb
FHSU graduate students making hands
Knoxville, TN
Visiting artist, lecturer, and demonstrator for the students of UTK
Demonstrating for the ceramic and sculpture students in the Arts building at the University of Tennessee
Edinboro, PA
Visiting artist, lecturer, and demonstrator for the students of EU
Hollowing out the head
Helena, MT
Five day hands-on workshop instructor, lecturer
Archie Bray Educational Building
Amber helping with the Flex-Wax for plaster positives of the participants feet.
Gatlinburg, TN
Two week hands-on workshop instructor, lecture
Great group of students!
Working on the muscles of the head
St. Louis, MO
Demonstrator and lecturer for participants of CACAD
Gatlinburg, TN
Symposium presenting artist, lecturer, and panelist
Pictured: Kensuke Yamada, Claire Stigliani, Richard W. James, Micheal Dixon, Beth Cavener, Jessica Calderwood
Closing keynote speaker, Ruth Miller giving one of the most powerful artist presentations I have ever seen.
Spokane, WA
Visiting artist, lecturer, and hands-on workshop for students of FHSU
Kyle Johns, Richard W. James
Demonstrating with Kyle Johns in Spokane, WA
South Bend, IN
Visiting artist, lecturer, and demonstrator for students of Norte Dame
Trying to explain how spacial dissonance was achieved in “The Shinning”
