Images from the Exhibition and After

Most of the exhibited drawings are listed on the Sculpture And Stone website. The images below are about the general space and feel of the exhibition.
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Doing a stone carving demonstration the following day after the exhibition opened using Carrara marble and Sydney sandstone.

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The Stone Piece Nr1 – “Deliverance” Part 3

Welcome to the third and last part of the article about the sandstone carving “Deliverance”.

As I said at the end of part 2 I have decided to keep the clay model and exhibit it. I felt it can stand on it’s own. Instead of firing and glazing the piece I have decided to coat it with metal. Bronze to be exact. For this I used a metal coating process of a company called Sculpt Nouveau. They produce patinas and metal finishes that can be applied, if I am not mistaken, to any surface. A porous surface such as clay doesn’t have to be sealed if it is cured (bisque fired in case of the clay). The metal coating will soak into the cured material deeper if it isn’t sealed and so you might have to use more of the Metal Coating. Also, using Traditional Patinas (the ones that react and affect the metal) should be applied to wet / damp Metal Coating. The metal is suspended in an acrylic binder so when it dries, more of the acrylic rises to the surface of the metal thus reducing the effectiveness of the Patina. The company provides all the necessary components of the process and have great demo videos showing the process.
Now, I feel I need to make a clear distinction here. This is not a paint that would resemble an aged bronze surface. This is not an imitation. It is the real thing. The coating is made of the real metal and by applying the patina to the dry metal surface it creates the same effect as if the metal was exposed to weather. I think that makes all the difference.

So here are the finished pieces:
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And here is the sandstone carving:
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The Stone Piece Nr1 – “Deliverance” Part 2

Welcome to the second part.

When I got to the stage of roughing out the head I could not get past the bearded man. I tried several times to adhere to the clay model, but the stone itself was imposing its solidness and stature and was turning into an old man. As I was carving a few pieces at the same time I was able to leave the man alone for a couple of days. When I returned to work on him, the assumed course did not change.
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Finally I gave in and decided to go with the current. I had lots of help on the way:

IMG_7753_weboptIMG_7755_weboptAfter that I interrupted the work again to finish carving another piece, but when I returned, to the man and seeing that he will not change his mind, being so determined to come forth I continued in good faith that he know what he’s doing. And from then on I did not try to alter the expression.
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However there was one more alteration I did not foresee. The flower pattern.

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Now that the clay model was so much different from the stone piece I have decided to keep it instead of recycling the clay for the next stone piece. I used a product form a US company to metal coat it. But more about that and the final pieces in the next part.
To be continued…

The Stone Piece Nr1 – “Deliverance” Part 1

Hello everyone,

With my exhibition opening this Friday (22 August 2014) I start to present the artwork here for those who can’t attend the opening in person.
Part of the aim of the exhibition is to add an educational angle. This has been requested by the Gallery. It is to provide some insight into traditional sculptural techniques.
For this reason I have kept all the work that usually gets discarded once the artwork is finished. So here it goes:

A sculpture can be created in three ways.
1/ By careful planning, great preparation and extensive study. The result is decided and the stone carving stage of the creation is just copying the preconceived form.
2/ By “freeforming” – a process where nothing is certain and the sculptor finds the form by carving the stone.

Whilst the first approach builds a good foundation, it kills the flow. And while the second approach has a great flow, carving stone is hard labour, takes a long time and is expensive. Not many can afford the time, effort and expense to see if it works.

I work using the third method, which is the combination of the two above. In a partnership. I like to know where I am headed, I like to know and understand the form to a point where I am saturated with it and mostly don’t have to rely on preparatory drawings or clay models.

Then I regard the stone. I form a relationship to it. I invite it to share the journey. To have it’s say. And then I pick up the chisel.

These days an imposed restlessness rules any occupation. It is a restlessness of productivity. Things have to have great value and have to be accomplished immediately. And so, often even artwork can be infected by demands of the “more and faster”. However we, the artists, are in luck because that which needs to be expressed can neither be rushed nor ruled.

The sandstone carving I want to start with here is a testimonial to the above.

“Deliverance”
I had some stored up imagery that was on my mind when thinking of carving this particular block of stone. The choice was of course limited to an extent by the size of the block. Here are a few sketches working out the volume of the stone.
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After that I did a few anatomy studies. You may notice how the design slightly changes with the restrictions imposed by the size of the stone.
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The next stage was to transfer the ideas in the drawings into the 3 dimensional model in clay. Once I decided to do the clay model I made sure it is approximately the same size as what the volume of the stone would permit – approximately 55 cm (21.6 in).
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The clay model worked fine. Pleased with the expression I set out with great gusto to carve the block. It was too heavy to lift on a stand so I carved it on the ground often kneeling down.
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When I got to the stage of roughing out the head I could not get past the bearded man. I tried several times to adhere to the clay model, but the stone itself was imposing its solidness and stature and was turning into an old man. As I was carving a few pieces at the same time I was able to leave the man alone for a couple of days. When I returned to work on him, the assumed course did not change.
To be continued..