Diplomatosis

Sculpture for surgeons

Authors: Jessica Farmer 

Publication date:  26 Feb 2008

It had never occurred to me that sculpting a facial bust could begin with a ball of newspaper tied with string. But that is how it starts. During this course Luke Shepard, a professional sculptor, spends four days taking a group of 16 surgeons from this small beginning, right through to creation of an individual life size facial sculpture. The course is run every year in Cambridge and is organised by plastic surgeon Per Hall. It is designed to teach surgeons who work with the face an in-depth appreciation of facial form, and I was fortunate to be able to attend in May 2007.

Observation is vital in medicine, but you are not often given the opportunity to concentrate solely on observing. However, the first morning of the course is spent doing nothing but looking, and it is amazing how difficult this can be. To help, Luke gives you exercises to do and methods to work out whether what you are seeing is what is really there. Time is spent observing the faces of the life models you will be sculpting, and this is important because to create a convincing face the translation of observation into form has to be exceptionally accurate.

The next stage in the process is to build a clay facial profile. Luke’s method is to take measurements of the distances between key facial features and to use these to make sure that the proportions of the finished piece are accurate. Obtaining these measurements with a pair of callipers can prove tricky, as it means some rather close-up and potentially lethal encounters with the life models. Once the measurements have been acquired a profile can be built out in clay around the newspaper ball, which has a stick through it to give the distance between the temporomandibular joints and sits on a wooden stand. At this stage the sculptures certainly don’t look like a human face, but in each it is already possible to see a little injection of individual interpretation.

The face is built out layer by layer from this profile, and Luke reminds you to keep moving and looking from different angles at every stage. To begin with gross features are added to the head. Each feature has to be made by thinking about exactly how it relates to all the others. Some moments can be incredibly frustrating as you realise that your observation has not been as accurate as you would hope, and it takes a long time before you start feeling comfortable with translating what you see into your model. However, in general the sculpting is rewarding, especially as you begin to see a face emerge from the clay. One of the most wonderful things is that the process is totally absorbing. It is not often that you can switch off from everyday life and learn an entirely new skill. I even found myself able to forget about the Medical Training Application Service.

Sculpture is not the only element of the course. Sessions in the studio are interspersed with lectures and demonstrations from people who straddle art and surgery. Last year David Gault, an ear reconstruction surgeon from London, gave a lecture about his approach to constructing an autologous ear. A prosthetist from Addenbrooke’s Hospital gave a demonstration of his techniques for making prosthetic facial features, and Francis Wells, a cardiac surgeon at Papworth, gave a lecture on the anatomy of Leonardo Da Vinci. Luke Shepard also gave talks about each step of the sculpting process and about the development of his own style and career. Starting our own sculpture made his skill appear all the more incredible.

The surgeons on the course were from plastics; ear, nose, and throat; and maxillofacial surgery. Every grade from foundation year 1 to consultant was represented. Not everybody on the course was a complete beginner, and it was fantastic to have the opportunity to learn from those who had previously sculpted. For everyone, there was an enormous sense of achievement on completion of their sculpture, which could be fired and taken home. Each person had created a life-like face with their own individual style, and it was interesting for the life models to see how their faces had been interpreted.

I have since recommended this course to many people. I had not had any artistic training since the age of 14, and I don’t think it is necessary to have much artistic ability to enjoy the course. I think that as a surgeon it is important to learn to appreciate not only the anatomy but also the form of a face. Doing the course has changed the way that I observe, and I have found this to be invaluable when planning facial operations. The cost of the course is reasonable—£600 for consultants and £450 for trainees and non-consultant grades—and includes all the artistic materials and delicious lunches. It is advertised each year on the British Association of Plastic, Reconstructive and Aesthetic Surgeons website; you are advised to book early. The next course is May 24-27. See www.bapras.org.uk/meeting_overview/231/Sculputre-for-Surgeons.htm

Jessica Farmer registrar in plastic surgery Birmingham

 jessief@doctors.net.uk