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Pour

The big day, again. The scene at H’s foundry studio

Bronze melting in the furnace, tools waiting on the line, mold preheating in the kiln. No action pictures, sorry, too busy. (video of another pour here)

The ceramic shell molds just filled:

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As the metal cools, it shrinks, and begins to fracture the mold apart.

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After lunch, we return, anxious to roughly smash up the shell and see what we have.

Front

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Back

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What I’m looking for is; the casting is complete, no voids or freeze-out of metal in any part, a generally smooth consistency of metal and good surface details faithful to the original. There is the customary small amount of pitting or scaring caused impurities in the bronze, which gives character to the material, and nothing much in terms of flaws from/in the shell molds which would require much repair or patching, there is a nice fire scale  and color to the casting.

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I have a tremendous feeling of satisfaction well-earned. I grateful to be working on a team with guys who can produce such things as this. I feel it is a rare thing to be working at this level of excellence in anything, and I’m glad it is happening to me.

Next day, back at my shop, I take apart the second piece more thoroughly.

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The shell mostly flakes away easily, and the deeper crevices are cleaned out using a chisel and hammer.

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I have two fine castings.

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Next, I cut off the sprue system.

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Now I can see the completed piece, the complete general idea. It is excellent, what I hoped for.

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Inevitably there is still much to do to detail or “chase” the casting; more cleaning, maybe sandblasting in places and patching\repairing some areas, and choosing whether or not to patina the piece and how. I’m leaning towards keeping the natural fire-scale finish, rather raw now, but it improves after a year or so naturally. Otherwise I’d considered that classic black with green haze patina we all know from museum pieces. Think about it. Another weekend and this will be ready for my show in October.

October 4 – November 1, 2013

Main Gallery: Joyce Brienza & Matt De Genaro
Opening Reception: Friday, October 4 – 7pm – 9pm

Paint Creek Center for the Arts
407 Pine Street
Rochester, MI 48307

Gallery Hours: Monday – Thursday 9am – 9pm, Friday 9am – 5pm, Saturday 10am – 4pm

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Cradle remove

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The first half of plaster is finished. Now I flip it over and remove the cradle. The front-side plaster now serves as the cradle for the work.

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The cradle is removed in pieces and carefully pulled back from the clay blanket which remains in place against the plaster and surrounding the model. Toss out the cradle thankfully, for the work it did.

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The second side is ready to begin working on. Another clay blanket and plaster will be made to enclose this side of the model.

Mid-summer break

What do you really know about me? Here is something; I like to walk on the beach with my eyes shut. My feet can feel the water on one side, and the dry sand on the other, and the firm wet sand between. I can go a long way like this, feeling my way along, trusting, resting my eyes, (the hungry eyes). I’ll peek after a few minutes, just to check where I am, but I’m always fine where I am. It is so restful to do this. One day this week I walked ten miles down the beach at Sleeping Bear National Lakeshore, but not with my eyes shut the whole time. Wouldn’t it be great someday to do that?

While paddling with my friend K., I had this thought: Great lives are not the same as the lives of the great. The lives of the great follow a plan, tell a story and reach a goal. Great lives are made of beautiful moments of experience, without direction or conclusion. In that way, they are not novels or biographies, but are better told as small stories of wonderful moments spent of an afternoon, or a single day’s joy in glorious Nature, a brightness of shared companionship, simple contentedness, or personal achievement, known only to one’s self. Great lives are like a collection of photographs which capture the memories of the profound experiences of living itself.

Finish

The finish is the finish – I paint on 5 wet coats all over with a foam brush, keeping it wet the whole time, the wood just soaking it up, until I began to see it slightly puddle- up on the sides. The end grain can soak up everything. Then I wipe down the wood with a cloth before it gets sticky, so it doesn’t dry shiny and wet looking. This warmed up the color and took away the dry look of the raw wood. I let it dry for a week, looking at it, thinking.

I used some ultra-secret 3000 grit sandpaper that comes on a thin foam backing, kind of like a mega-fine 3M pad (thanks Garry), to buff down the fine hairs and grain raised by the application of the first coat, especially around the equator of the piece where the grain is flat and difficult to chisel as sharply and cleanly as on the end grain at the top and bottom. The trick is not to dull the sharp edges of the chisel marks which are so nice, and this special sanding pad can do it much better that I could do on the practice piece with regular 2000 grit paper. This gave those areas a much “harder” surface, without the vaguely distracting fuzz of the loose hairs, which as hard as they are to see, still create a lack of visual sharpness.

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I applied a second coat, this one thinned about 10% with mineral spirits and wiped on lightly with a cotton cloth – an old t shirt. This is all mostly automatic since of course I’d done some testing before. It is worth all that rehearsal so as not to be a nervous wreck when doing the real work. I like adventure, but I suppose I like most adventure which leads to success.

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Dreaming azure bird

I had a dream I was waiting at the bus stop, when a miraculous blue bird flew by. About the size of a crow and light blue, slightly iridescent. It came around and landed on my left shoulder, leaned in, and wrapped its azure  wings around my head, covered my eyes and held me there. People saw it and called out to each other, “Look!”. I stood still, safe behind those soft smooth feathers, for a long time. The bus came. I had to get on. The bird changed into a cat and I put it inside my coat.

I take it means I should disregard the World,  close the eyes and look within myself. What I find there I should take to heart and protect. The bird is my muse, the bus is the World, my coat is my heart.

Twisty

Inspired by tattoo and comic book artists, and designer toys, I wanted to make a sculpture I could self-market at a reasonable price. Here is my Twisty sculpture – Hand cast in resin (urethane) plastic in several colors, each is unique. To see more, goto http://artblabla.wordpress.com/

Yellow Twisty

YELLOW TWISTY

Translucent Amber-Yellow

One foot has a red mark

8 inches

$75.00