Watering can continues

As I continue adding the final layer of clay, I laid the sculpture down to let gravity work for me.  The final clay is put over the rough texture so it will adhere well.  Into the final clay surface I create a slight "elephant skin" texture by pressing crumpled up wax paper into it.   It is easier to push clay on while the sculpture is in a lying down position than to push clay on if the sculpture were standing up.  After I get to just above the eyes, and under the handle, I will stand the sculpture up to add the decorative details and final layer of clay.  Notice the eyeball...it is a glass eye used for elephant taxidermy!

WATERING CAN-INDIAN ELEPHANT THEME

This is a design sketch of the sculpture, showing it's basic shape and surface decoration.  The sculpture will be 4'x4'

The sculpture will be made of resin clay which hardens within 4 hours and is fully cured within 24hours.  The armature was carefully designed and measured. 

This picture shows the armature from the bottom.  The netting is necessary for the clay to grab onto. 

  I  laminated the Styrofoam then flipped the sculpture over and put clay on the bottom to harden.   Then I  finished building the armature in Styrofoam and wrapped it in the plastic mesh.  A layer of plaster was then added. The picture above shows the steps.  Starting at the top: carved Styrofoam, then plaster over the Styrofoam  and at the bottom, the grey area is the resin clay.  When finished the overall sculpture will be smooth.  The texture you see in the clay at this time is there so the subsequent layers of clay will have something to "hold" onto.

This is the making of the spout.  I used a ceramic bowl as the form, draped it with wax paper so the clay would not stick and after placing it on the sculpture, closed the opening with clay.

After many hours of work, it is finally shaping up.  Very time consuming is the mixing of the clay but it gives me great pleasure when it hardens and  I get closer to what the sculpture will be.

Enlightenment Ready for Foundry

The sculpture is done for the most part and I am very excited and anxious to take her to the foundry.  I like to wait a few weeks to reexamine and possibly touch up the surfaces before making the commitment in bronze.

Aunt Regina's Apples

I recently returned from 12 days visiting relatives in Ohio.  While in Ohio, I stayed with my aunt Regina who was a gracious hostess, taking me around to visit people and places.  It was so much fun being with her, sharing memories and getting re-acquainted.  We had non stop adventures, and even managed to take time for a painting.  Below is a painting done on her kitchen table which now hangs in her dining room.  Hopefully when she sees the painting, she will remember me and the fun times we had.

Aunt Regina's Apples     9x12  Oil

We worked from life, but here's a photo of the still life.

Currently, I am diligently working on "Enlightenment" in my studio.  I have chosen to finish the sculpture with a relatively smooth finish which is very time consuming.  Sometimes it feels like it will never end.   A love/hate relationship at times.  The only part I really don't like is that I want to finish so that I can start another sculpture or painting.  I will share photos of the clay when it is finished and ready for the foundry to cast it in bronze.  Wishful thinking is that it will be in a week or two.  Be sure and check back.

Enlightenment

This sculpture has a long history and demonstrates how inspiration can come in bits and pieces.  It was started back in 1994 when I worked about 6 weeks (6 hours a week) on the undraped figure from a model.  Then it stayed in my garage, unfinished.  I even ran it over with my car one time, by accident of course. 

I  loved the pose but could not bring myself to finish it for some reason.  About two years ago I found my inspiration and  began a new head, changed the arms and began to drape the figure, (another 6 weeks.)  I took fabric and draped the figure, photographed it, removed the cloth fabric from the figure, then sculpted the fabric out of clay using the photos as reference.  Another sculptor asked me why I don't just leave the cloth fabric on and make a mold of it.  The answer is that I fabricate the fabric out of clay because it allows me to control the composition, where the eye goes, and I love creating drapery.  It is a lot of work, but very rewarding.  This summer I completely re-sculpted  the head,

refined the drapery and am in the process of finishing the surfaces.  She will be holding a waterlily which can be plumbed and water will flow from the flower.  This was inspired by a series of waterlily themed pastels I created these past few years.    Being a Pisces, I am drawn to water and  find the water lily serene and inspirational.  Inadvertently,  I feel my deeper inspiration has come from changes made in my heart and mind inspired no doubt from working with life coach Gaga Barnes.  Her teachings have made big changes in my life and I am very grateful to her.  The pastel below is called "Enlightenment."

 Here are a couple of other views of the sculpture.

My next move will be to lay the sculpture down and fill and finish all the under sides.  Then stand her up, and finish the rest.   Whew, lots to do, but I love it.

Dane Ready for Firing

This is the clay portrait of Dane that I started as a demonstration for a sculpture class and finished in my studio.  (See previous posts for step by step development.)  In order to fire it in the kiln I need to hollow out the head and make the walls of the sculpture about 1/2"-3/4" thick.  To do this I first mark on the sculpture where I will be cutting the head open.

Then I cut deep along the lines and carefully lift the top of his head off.  This usually makes a lot of students nervous.

After hollowing out the walls to the right thickness, I put a lot of needle holes in the inside to let the air escape if there are any air pockets and to help the clay dry out thoroughly.  Then, I score the edges, add slip and put the two pieces back together.  It is a little more involved than that, but that's the general idea. 
Here's the final sculpture, which will sit on the shelf drying for about a month.  After which, I will fire it in the kiln and then put a patina on it. 

San Mateo

This plein air painting is the start of a study of San Mateo State Park.  I love the vista of the creek and the shade of this big old eucalyptus tree. Above is the blockin and below is the painting after a few hours.  Shadows are cast on the photos from the tree.  I had to sit on the ground to get this perspective, which is kinda tough when trying to get up again.  All in all it was a great day.