Yes, I too would like to see your work!
I've always loved to paint the human figure, but wondered what it would be like to work in three dimensions. Something magical happens when the clay takes on such human like quality. There is nothing more thrilling than when you apply that last dab of clay to the cheek and you are holding the person's face in your hand. Much more fulfilling than that two dimensional canvas.
What I do with eyes is I take a digital picture of the model up close or if working from a photo, scan it in to the computer. I can then change the image from color to black and white so as to get the well-defined shadows. When making the eyes, I pretend the cornea isn't even there and model the iris like it is a concave dish. The pupil is nothing more than just an additional deep concave dish in the center of the iris. The overhanging eyelid is where the drama comes in, casting a shadow over the top of the iris and the pupil. Some, attempting for the first time, make the pupils too deep. All you need is just the hint of the pupil and light and shadow does the rest. Again, being able to see in black and white allows you to capture those shadows. One of the most amazing tricks is when you work with a lighter colored iris, make the dish more shallow, a darker iris, dish deeper. I then attach a little ball of clay right at corner of iris and pupil at a 10 or 2 o'clock position, depending on which direction the light source will best come from for that sculpture. The best light source direction may not be determined until the piece is nearly complete.
Forget about too much detail in the brow and lash, the viewers mind will fill that in. One of the most beautiful people I ever met was a woman who was born with a "no hair" gene.
Diego