http://www.a-n.co.uk/artists_talking/projects/single/578094 Pietrasanta Bronze Casting Residency 2010 Tue, 14 Feb 2012 18:45:03 +0000 a-n rss generator a-n The Artists Information Company and contributors edit@a-n.co.uk technical@a-n.co.uk http://www.a-n.co.uk/img/logo.gif http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Introducing the Bronze Casting Residency:So, 2 weeks ago exactly I was facing a selection panel of eminent Sculptors and funders presenting my candidacy for this residency, part of which was a plan to set up a residency blog to capture my experiences and the knowledge I will gain. The next day I got the phone call telling me they had chosen me - I had to make the lovely Lisa at the RBS repeat herself just to make sure I ‘had’ not ‘hadn’t’ been selected!The next few hours were a rollercoaster of emotions from elation to worry and guilt as to how we were actually going to organise this: the main issue being my darling child who is not quite 2.I am now settling into the job of organising the various elements of preparation for the residency between the other commitments I currently have and my broad categories are: - Project (more of this later, but will involve enzymes so I need to find an enzymologist to collaborate with)- Childcare (where, how, who…)- Blog - Italian (will be essential as the artigiani in the foundry speak little english)- Going Admin (flights, accommodation etc)- Being away Admin (like sub-letting studio, teaching commitments…)This first blog post is a bit rushed as fitted in during a nap time, so to finish I will just add a bit more information about the Residency (currently I don’t know all that much more than was on the application form so this is mostly paraphrased and copy/pasted from that).The residency is offered through the RBS (Royal British Society of Sculptors) and is only open to RBS members. I’m a member as I was awarded a Bursary by the RBS last year.The aim is to enable a professional sculptor without previous experience of working in bronze to learn the technical aspects of the casting process, thus expanding their skills and developing their practice. The residency offers the successful candidate the opportunity to work alongside the artisans of the renowned Fonderia Artistica Mariani, developing an understanding of the lost wax process, from the creation of their own models in clay and wax to the finishing stages with chisel and patina.This is a fully supported residency for three months from February 2010.It includes:•    2 return trips to and from Pietrasanta (from anywhere within Europe).•    Apartment rent, including utilities but not phone.•    Studio rent.•    Stipend of 800 euro per month for living expenses.•    Introduction to techniques of enlargement in clay, plaster casting, mould making and bronze casting.•    Casting of 2 small pieces produced during the residency and the cost of theircrating, packing and shipping of the said sculptures and models.•    Accompanied visits to other foundries & studios. So... follow this blog over the next 6 months to see it all fit into place... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 My Application for the residency:As not much is happening yet on the residency, I’m posting the images and text I sent in as part of my application for the residency. Here are the three main questions from the application form along with my responses:Please describe your experience of modelling.I discovered and fell in love with clay when I was 11, as a result this medium feels like safe ‘home’ for expressing form and ideas. Today I work across a variety of modelling materials, including modelling wax, clay, plaster and even experimenting with expanding foam for working on a large scale.Please give a brief outline of what you hope to achieve during the three month residency and explain why it could only be realised in Pietrasanta.I anticipate immersing myself totally in what sounds like an amazing sculpture focused town. I am interested in the effect on my work to be in a different critical context. I suspect that the strong carving tradition and skilled craftsmen coupled with a variety of international contemporary practitioners would provide different feedback to what we are used to in London with its strong focus on concept and ideas. Through 3 months cut off from the usual background distractions of developing my career and the responsibilities of personal life, I would be hoping for a ‘quantum leap’ in my practice. At the very least I would be looking to return from Italy with a new set of sculpture techniques and news ways of seeing my work. Do you have a project in mind that you’d like to pursue during theresidency? If so, please describe it.During the residency I would like to focus on 2 areas:1. Experimenting with combining cast bronze with constructed bronze elementsThis relates to work I have been doing using constructed geometric forms in copper and brass combined with cast figures and forms. I would be interested in seeing how best the lost wax techniques could be exploited, changed or played with to produce news ways for me to sculpt.2. Exploring surface texture and colour and how this relates to formI have been experimenting using tempera paint on textured plaster surfaces, and I’m beginning to understand some of the effects of colour and texture on perceptions of form, and how this works sculpturally. I would like to translate this work over into bronze and patinas. I had tried learning about different chemical patinas in the past, but was limited as I was trying to patina resin bronze, which is a very poor substitute for bronze.   The 5 images are those submitted with my application and are of recent work.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Where does the time fly to? I can’t believe it is already eight day’s since the first post here. The last week has been a bit frustrating as nothing seems to be moving that fast, and very few decisions have been made, but I’m beginning to get a picture of where I’m going and sorting out what I’m going to do. Lots of questions still hang over how I’m going to arrange childcare and seeing my son, but the good news is the pictures and layout of the flat I’ll have in Italy look great and I can imagine sharing it with my mother and my son for some of the residency without it being too hectic. I’ve also had an email with lots of information from the main contact in Italy which was great.Meanwhile life continues in London. Today I spent the morning teaching at Hampstead School of Art, then I delivered a sculpture I had sold to a friend. It was interesting seeing the work installed in a domestic setting. I quite like the feeling of sending my pieces off into the world to have their own journeys. This afternoon was earmarked for catching up on stuff on the computer, but I’m running out of time again. I feel like I haven’t done any applications for other opportunities since I was shortlisted for the residency, but I really should as I won’t be doing any of that for 3 months in Italy. I’ll need to have some other things to have lined up for next year when I’m back, and I feel like I need to keep the momentum up. It seems like I’ll need to spend a lot of my ‘work time’ (when I have childcare) at home on the computer this week rather than in the studio where I’d rather be. But at least I’m sleeping better now – last week I had a few nights when I couldn’t get to sleep as I had so many things rattling round my brain. I would then be tired during the day and not get as much done as I needed to, so then had more to worry about at night! I will try to post again soon about the application process and the selection panel / interview for the residency – I think my scientific brain means that I feel I need to document the *whole* process. But maybe it will be interesting to compare the plans and objectives with what happens on the ground in Italy.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 The interview: my proposal for PietrasantaIt now seems a while ago, but on the 19th October I was invited for an interview at the RBS headquarters on the Old Brompton Road. I had been told that I was to give a 10 – 15 minute presentation on “what I hoped to achieve if I was awarded the residency”, and that I could bring maquettes, drawings and handouts if I wanted to. This would be followed by questions.Slightly nervous about this, I decided to prepare well and try to sound as confident as I could. I didn’t want to read out a prepared text as I always think that ends up being quite lifeless, but I as I felt it wasn’t actually that long to get across all I wanted to, I decided to have a very clear structure and I mapped out a ‘mind map’ of what I was to say (image attached). I practiced once to check on timing, but again didn’t want to repeat it too much, as I didn’t want to loose the genuine enthusiasm of saying it from the heart.After a brief intro thanking them for the opportunity and giving a brief background to myself and practice, I did the old essay technique of briefly telling them what I was going to talk to them about: the 2 techniques I wanted to learn, the project I had planned, and my strategies of getting the most out of the opportunity.2 techniques I want to explore1. Combining cast bronze and constructed bronze elementsThis relates to work I have been doing where I’ve used cast bioresin figures and constructed geometric forms made of copper and brass rods, as well as other works using human figures to represent molecular structures. I showed my man inscribed in a tetrahedron, and my molecules: carbon-carbon – with two men connected together, and carbon dioxide – a man (the carbon) connected/held by two women (the oxygens). They were interested in the materials and techniques I’d used, and I told them of how I would love to create a huge DNA helix made up of people representing the atoms all in their correct geometries.2. Surface texture and colour – perceptions of formI showed them an image of a new work – Nature/Network I had recently completed where I’d experimented with texture in the plaster and colouring this using tempera paint. I also showed them a sample work so they could see the colours and textures close up. I think too often with cast materials there is such a temporal separation between the modelling material and the finished form. I wanted to experiment with different textures and how this would effect the patinations possible, and how the patination would change how we perceive the form.(there is a limit on word count per post – so I will continue this in a new post)... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 The Interview part 2: Project for Pietrasanta (cont. from previous post)I then presented my proposed project: to represent an Enzyme This is an idea for a work I’ve recently had. Enzymes are proteins that are the ‘do-ers’ in all living things, they make all reactions happen – from the breakdown of food, to muscle movements, to reproduction. They are so elegant, have simple forms which includes an active site. This is like a lock, that the ‘key’ (the substrate – i.e. the things that gets changed by the enzyme) slots into like a key fitting in a lock. They are also so varied in shape and size. I showed them an image of an enzyme. The work has 2 elements which allow me to explore the 2 techniques: •    Molecular construction – i.e. the chemical that fits in the enzyme, to be represented as small figures, like the carbon dioxide except more extensive – to be modelled in wax – that  will help me to learn constructed bronze •    Main shape – a large abstract-like form (except it is actually the exact shape of a real enzyme), to be modelled in plaster – that will allow experimentation in texture and patinationGetting the most out of the residencyI once overheard Alexa Holt (of Cove Park) say that a particular artist “knew how to approach a residency” so it had been very successful. I never got to ask her what she meant… How do you approach a residency? My plan: clear structure, with space for reflection and creativity Capturing knowledge: how to record? Notebooks + this blog Getting most out of Pietrasanta – already speak Italian, revise before arriving. Getting most out of extra time (away from family responsibilities and building career activities) – Ideas diary (daily personal diary, Mike Tyson-esque drawings/sketches of ideas for new work)ConclusionI know a lot of people (including my family and at the organisations involved) will be working hard to allow me this opportunity, so I’m prepared to work very hard to make the most of it.I had presented to a panel of 6 people. They then asked me quite a few questions but were very nice and interested throughout, and they also told me a bit more about what I might expect in Pietrasanta. I then packed up my maquettes and headed home on a bit of a high after the adrenaline of it. I felt I had done myself justice and it would all be up to who else was up for it. But then I started worrying that I would be up against more experience and talented sculptors, and it all seemed a bit unreal, even more so after I got the call the next day saying I’d got it.I have since been working on the preparatory work for the project, and I’m off to Oxford next week to look at Enzymes! More of this in another post.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Little things, big things and problems of unknown size…I have been working on my Enzyme project – and am getting quite excited about it. However, I’m also aware that I don’t want it to take over totally so I leave room for other ideas and experimentation with all the bronze casting techniques. With a view to this, I want to limit the size of the enzyme sculpture – but this is a little bit more complicated as I can’t go too small on the figures or they won’t be castable. I think the limit is 3mm for the bronze to flow properly.So – I did some research and calculations. A carbon-carbon bond is between 120 – 154 picometers (pm). Picometers are what they use to measure atomic dimensions.         1 picometer is 1/1,000,000,000,000 m (pretty small!)Most small molecules are measured in Ångströms (Å) which is 100 times bigger than a picometer, for e.g. Water is 3Å. Proteins and Enzymes are measured in nanometers (nm), which is ten times bigger than an Ångström. So:        1Å = 100pm        1nm = 10Å = 1000pmA typical globular protein is about 4nm. So, if I made my carbon-carbon bond about 12 cm long (roughly the scale used in my diamond inspired sculpture), then my total sculpture would be 4 meters – which would be quite an undertaking! That is assuming I can find a suitable enzyme that is only 4nm – some might be even bigger than this.So it I want to reduce the scale of the total sculpture, I could try reducing the scale of my carbon-carbon bond, aka my figure-figure distance. The man in the middle of my tetrahedron has arms & legs of 3.5cm from the centre of the figure. This is probably the limit of how small I can go, as the wrists on this are about 2 x 3mm, and the tips of the fingers are 1mm. I will probably have to wait till I’m at the foundry to find out if I can get away with this. Even so, this would give me a 7cm carbon-carbon bond length, thus a 4nm protein would be about a 2m sculpture – still quite big! Hmm, worrying…... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 I'm leaving in the morning So, after 3 months of preparation, and the feeling that life has been on hold for a while, I'm leaving tomorrow morning for italy. I still feel like my head is full of admin and practical things, and I'm looking forward to being in the apartment in Pietrasanta and taking a breath and reflexion before I start at the foundry on monday. So - I decided to drive to Italy so that I could take lots of tools and toys and things with me. Decamping half my studio along with the nursery has been a bit of an epic task. I have all the bags, including for my mother who'll be joining be later, pilled up in the corner of the room, so tomorrow morning I'll pack up the car and leave by 10. Eurotunnel around midday, France by 2.30 local time, then about 6-7 hours driving to somewhere near the alps called mullhouse for an overnight hotel stop. Then on Sunday another 6-7 hours to Pietrasanta. This residency it definitely turning into a family affair: I've persuaded my Brother to help me drive down there, as my husband is left 'holding the baby' on his own. Its very kind of him, and unfortunately he has to be back in london for work on tuesday so he'll be flying straight home on monday lunchtime! Useful things for others planning a residency in Europe: EHIC: european health insurance card, can be ordered easily online from here: http://www.ehic.org  Car insurance - some companies only have 60 days or european travel included as standard, but a few have 90, so its worth shopping around. I've had to cancel my existing policy and take out a new one, which I had to do before I left the UK. I haven't found any company prepared to do more than 90 days (and my residency finishes in about 92 days time) so I may have to drive the car back, then fly back for the last week... I have been posting ads online, and pinning up posters, but I still haven't found someone to sublet my studio. I one person going to see it on monday, so fingers crossed... I've also decided that someone needs to set up a website or mailing list for artist studio vacancies, as there is nowhere (as far as I have been able to find). The places I have posted: Arts Admin mailing list (needs to go in the lonely art section): http://www.artsadmin.co.uk/contacts/edigest/edigest-post.php http://www.cida.co.uk/ Artelier - the artquest studio swap service I tried posting to artnews (http://www.artsjobs.org.uk/) but it didn't appear on the newsletter, so I guess they won't post studio vacancies. Also tried to post here, but never got my account approved:  http://www.creativespaceagency.co.uk/noticeboard   Anyway, last minute packing calls, I will try to post again once I get to Italy. Briony... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094   First impressions of Pietrasanta So, its Wednesday morning and I’ve finally had a chance to catch up on sleep and reflect on the last few days. Today is a festival – the patron saint of Pietrasanta – so the foundry is closed and this beautiful town is apparently full of stalls (I’ll be off out to explore after this post). The journey down was ok but quite tiring. My brother was a star and came with me to share the driving. We had snow and freezing conditions, the salt spray from the roads made the windscreen filthy. I’d cunningly forgotten to put the antifreeze in my windscreen wash so we had to stop occasionally to clean the windscreen so we could see where we were going. But it was a stunning route through the alps and the Gottard Tunnel. We arrived Sunday afternoon and Valentina very kindly met us at the Autostrada exit, to show us the route into town as it was the first day of Carnival and there were street parties and people in fancy dress all round Pieatrasanta. Amazing to arrive in a stunning medival city, and see people wandering around as furry animals, or children with hats almost twice their size. After Valentina showed us round and we’d managed to empty the car, we wandered around the central square which had an exhibition of large marble sculptures which was coming down the next day, we had a drink at a bar on the square then an amazing 3 course meal at ‘il gato nero’ – i.e. starters, pasta, and main course, I looked longingly at the pears poached in wine, but just didn’t have any space for it. The next morning I had fun driving my brother to Pisa and getting lost, but managed to make it back to meet Valentina at 11.  After a brief chat to the guys dismounting the sculptures in the main square (I loved the fact that the main guy had a belt with buttons controlling a crane, which he still continued working as he caught up with Valentina) she took me to the foundry. The Fonderia Artistica Mariani is amazing. Having visited a few dark and dusty foundries under railway arches in London with slightly ‘heath robinson’ techniques, I thought I had an idea of what a foundry was like. Mariani’s is housed in a 2 storey factory type building, with windows on both sides upstairs and high ceilings, which make the wax rooms on particular lovely light rooms in which to work. Everything is highly organised and tidy. It is full of works in various stages of completion, all neatly arranged either on shelves or the floor. First we went upstairs to the wax rooms – in the first room I entered, large rubber moulds were open, and about 3 artigiani were painting on layers of wax – an first outerlayer of softer moddeling wax in red or black, followed by a thicker harder brown wax for strength. In the next room, the wax sculptures were out of the mould but now suspended in a framework of steel bars, and they were having runners and risers added, and in the third room, all the seams and imperfections were being removed. This third room is where I am starting work (but more of this later). Downstairs we saw sculptures now encased in the ceramic shell, standing in lines like white ghosts waiting to go into the kiln for firing and melting out of the wax. Then in the next room I saw them doing a pour – the amazing colour of the bronze as it goes in. Nicola, the son of the owner who was taking us round, showed me the sheets they use to record all the details of each pour – including the weather and humidity. It all seems far more scientific as they continually strive to improve the technique. I’m wondering if I could do some work linked to their processes… Then we saw the two rooms where they bronze pieces were worked – a room for small pieces where artigiani were grinding and polishing pieces, then an amazing room full of giant sculptures being put back together after having been cast in sections. The final area was for patination, where I saw a huge head which was a bright electric blue (copper sulphate I think) in an intermediary step of the colouration process. As I’m out of time and space, I will tell you more later.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094   Yesterday’s fair in town was great, I learn the following: - When buying a sandwich I’ll get asked if I’m married  - Its ok to carry round a 3 foot axe, as long as the head is in a plastic bag - Shinny black puffa jackets are *the* fashion item – I saw a family in which not only the 5 year old, but also a 1 year old in a buggie, were wearing matching shinny black puffas to go with their mother, aunt and grandmother! I also bought olives and dates and dried apricots and a melon and a big plait of Garlic, and the local speciality buiscuits – which are like mini crispy pancakes. But I resisted getting a vegetable grater/slicer, a quad bike or a robotic donkey who waged his head from side to side energetically. They work 10 hours a day in the wax room in the foundry: 7-12 and 1-6, it’s a long day. I supposed it is ok if you are doing the work most of them are doing; quite relaxing touching up of the seams on the waxes. I don’t think I’ll be able to do 10 hours of creative work a day, but it might be interesting for my stamina to try! Most of the other departments finish at 5pm – maybe because they do more strenuous work… I saw them do another ‘pour’ today – or as they call it ‘La Fusione’. It is amazing, the colour of the bronze and the sound of it as almost glugs down into the moulds. I also had a great lunch – I met Julia Vance (www.juliavance.no): a great Norwegian Sculptor who comes from a lettering background, and now works in marble. She still uses letters a lot in her work and it has an interesting aesthetic that seems to be all about proportions, spacing and balance. She took me to ‘croce verte’ (green cross, I thought she was taking me into the local hospital!) which is a place where they do cheap lunches for the needy (and artists). You have to become a member, which I might investigate. You can get a 3 course meal with water and wine for 9€s. As we arrived she met another Norwegian sculptor Håkon Anton Fagerås (www.fageras.com), along with an Italian Guiliano Corelli (who works at Shakti Studio, where you can just use/rent the space, near Hakon's Studio). We had a great lunch (I had Macaroni di Mare and Insalate) talking a mix of Italian, English and Norwegian. After lunch Hakon invited me to the marble studio where he works. It is run by Marco Giannoni and they do a lot of work for artists. Hakon is working towards a solo show in Oslo in March, and had just finished a stunning sculpture of a man balancing. The marble had such an amazing quality – it was a little bit grey but luminous and soft, and he had left the surface with the marks of the chisel, which meant just a very slight texture, and a trace of how he had worked the form. The pose was simple yet very powerful.  At lunch we had been discussing the different emphasis of conceptual artists (who work in the realm of ideas and leave everything to the artigiani), vs artists who care and are involved with the detailed aesthetic and form and the decisions that arise as a work progresses. This seems to be a topic that comes up a lot in Pietrasanta, as many artists have their work made here – for e.g. Marc Quinn (who actually seems to spend a lot of time here), Damian Hirst, Kevin Francis Gray (who has his work done a Marco Giannoni’s where I was). But my first trip to a marble studio had a big effect on me, it was almost as if ‘marble’ had caught my eye, flirted with me, and I kind of felt excited and exhilarated by what it might offer. I definitely would like to have a little ‘go’ at marble whilst I’m here. I know I’m here for the bronze casting, but in a city so full of talk of marble it would be a shame not to make the most of any opportunities I can find. I then had a great afternoon back in my cosy wax room, finishing off my Italy relief and starting a new experiment in ripping and dripping wax – but I must go into my first week’s wax experiments in more details in another blog post.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 The Wax So, in my first week at the foundry I have been experimenting with working directly in wax. I'd discussed this with Helaine Blumenfeld over christmas, and we agreed this would be a good way to settle in to the foundry at the start of the process, that wax might be an interesting medium for me, and with the aim in the next week or so to create something that I could then take through the whole lost wax process. I had developed some ideas I wanted to experiment with. These were related to recent reading I've been doing - Collapse by Jared Diamond (a fascinating account about why certain civilizations failed and some were able to survive - when faced with changes in climate and overexploitation of their environment) and Six Degrees by Mark Lynas (a graphic account of what we think will happen with each degree of global temparature rise). So my ideas are around man's interaction with our environment: erosion, deforestation and climate change. I think other ideas influenced by the recent Haiti earthquake - plate tectonics, volcanoes and earthquakes, seem also appropriate given the nature of wax and bronze casting. I have included some images of my first wax experiments. At times it has been exciting and rewarding, at others a bit frustrating. Back in england I had been playing with ideas of erosion using plaster, which really lends itself to this. Wax is different, and can have a slight tendency to look plastic when I melt and drip it. But I've discovered a point when cooling from melted that I really like using. And i've starting finding some ways of working the wax to create forms and textures that are begining to work. In parallel to the wax texture experiments, I have also been casting some small tetrahedron men in black modelling wax, and starting to put them together. I thought it was going to be too small to cast in bronze, but the foundry have said we can try. Helaine came to the foundry this morning to see my first week's work, and especially liked the 3 experiments I've included in the images here. Her feedback was really interesting and useful (this was on top of a great chat I had with her yesterday afternoon at her studio). One of my experiments was a large relief map of Italy that I had done - I felt I was referring to the renaissance tradition of the bronze baptistry doors in Florence, and to the influence of italy and being here on me. However, I wasn't sure where I had gone with it - it became very decorative, and I think I had got too attached to this. I then wanted to try to work into it a man's presence, but it didn't seem possible. Helaine responded by remembering what Knut Steen had said to her when she was starting off (and had lots of energy and ideas): "Its a great idea, but its not a sculpture" I am really excited and energised by the process of this residency. It is very hard and probably not necessary here to capture what I have started to learn from my 2 chats with Helaine. However, I feel on the verge of a breakthrough, that I am beginning to see things differently.  One of the things I'm begining to see differently are my ideas - I think I'm being too literal with how I put them into practice, that I'm too tied to them. Often I have big ambitious ideas - that I start to form, then there is so much work going into creating this initial vision that this absorbes me totally and I haven't left room to requestion it, letting it change, be spontaneous and develop. My humanosphere has been an example of this, but perhaps this has also been a result of my change in work process since motherhood. In a lot of ways it has improved, I feel I've been procrastating less, getting on and pushing through with work, but I think I may have lost a bit of the re-questioning and looking that is so important.  Helaine picked up a pair of my figures and placed them on my small island - it looked amazing, and we both smiled. In some ways this was what I was intending with these different experiments, but somehow I hadn't thought to bring them together yet! With this small action she has set me off in a new exciting direction of experimentation... ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094   "Gli Artegiani" at work I have also been learning lots of techniques from the foundry guys - some hard to explain, but highlights are: - use of heated sand-paper dipped in 'petrolio' to smooth the wax - how to use heated rasps on the wax - making wax plates / boards on marble slabs - 4 batons of wood measure out the space, then the slab and batons are oiled and the molten wax poured at a steady pace into the space - soldering wax together (very similar to metal techniques) - using a hot tool and a bit of wax shaped into a rod - how to use small pins to strengthen small soldered joins (heat and insert cut end of pin first, then use pin end to insert into the other half of join) - moving over the large extractor fan when making lots of smoke (large soldering and using large heated tools) - how to pour the molten brown wax into cool water, then with oil on your hands kneed into a ball of very maleable wax - they do this with the hard brown wax to build up barrier walls on moulds. It can almost be used like clay - using a wonderful old metal syringe to inject molten wax into a small mould (although I haven't been alowed to wield the syringe that I'm coveting!) and probably many others that are already becoming second nature!  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 La Fusione Here are some shots of a bronze 'pour' - or as they say here (far more exciting) 'La Fusione'. I took these shots earlier today. They were doing 2 large pieces that were buried in sand, and then a lot of small pieces, that were taken out of the kiln just as the bronze was taken out of the furnace. They had told me in the wax room to come down to watch this pour, as it was a very beautiful one - when the bronze goes in the small ceramics, you can often see it coming out of the holes.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Donna Scultura (Women Sculpture) This morning I went to the opening of the women's scultpture show - an annual show they have of 4 prominent female sculptors working in Pietrasanta now in its 8th year - which they always schedule to open on Valentines day! It started at 10.30 am - with a series of talks in the lecture hall off the cloister (this was also used last sunday for the Knut Steen award ceremony which I haven't had a chance to blog about yet). As I arrived I met Shelley Robzen (http://www.shelleyrobzen.com/) who I had lunch with on my first day here and who I'm trying to meet up with again, and Immanuel Klein (http://www.immanuelklein.com/) who was here on the marble carving residency before christmas but is back here for a while longer. We sat in the second row and ended up beside Hakon Anton.  My italian is getting better as I could get the general jist of all they were say (it was all in italian) - although I wasn't always sure who people were.  The artist were: Elena Biancini Who does interesting figures in fired clay, and a piece I particularly liked of an egg hanging in the centre of a pyramid (appesa a un filo). She didn't want to say anything, and I can't find her online either. Editt Davidovici Of Romanian origin, she showed a slideshow of personal photos starting from childhood, including amazing snow sculpture in Canada and ending with a poignant photo of her son who recently died in a flying accident whilst training to be a pilot. She works in marble and I thought her most powerful piece was called 'fallen angel' and was dedicated to her son. It was like a wing and head of a bird or gull with an amazing line and curve - and had a tear of polished marble about where the birds eye would be. However, I did think that the tear spoilt it slightly - it was just a bit too cliched and unsubtle in a very subtle piece. I wonder if she could have kept it but tonned it down a bit, or maybe it wasn't necessary. Jaya Schuerch http://www.jayaschuerch.com/ She spoke of the amazing experience she has when she first arrived in Pietrasanta in the 80s and learned in various marble studios from old craftsmen who had been carving since the age of 14... Sadly a lot of these studios are closing down or moving out of town, as their son's don't want to face such a hard life and the price of real estate in central pietrasanta rockets.  After having moved studios a number of times, her need to have a stable and 'bello' place to work, drove her to set up a studio where artist and artigiani can work: Studio Pescarella http://www.studiopescarella.com/ (This is just outside Pietrasanta and I'm hoping to go visit it soon) Later in the actual exhibition I talked to Jaya - which was very interesting. Amongst other things, she encouraged me to invest in hiring a professional photographer to take shots of my works - if you can't send the work, its great to send good photos, and its very important to have good quality catalogues...  I'd told here that I had only been here 2 weeks and how my head was a bit really from trying to take it all in, (I feel like a sponge). She said that I'd probably start crying a lot in another couple of weeks - most people do - or rather the women tend to cry a lot and the men take to drinking too much! Virginia Tentindo (I couldn't find a site of her work but this give a good overview) http://gumucio.blogspot.com/2009/11/el-erotismo-de-virginia.html Of argentinian italian origin, her work seem very influenced by past latin american civilasations - with strange hybrid creatures and weird erotic scenes. (The little boy next to us exclaimed 'bruto' and 'monstro' - its ugly, a monster!) . She has a studio in the Bateaux Lavoir in Monmartre in Paris (where Picasso worked) She showed a film of her work and studio with a voice over text by Julio Cortazar (Argentinian novelist). Unfortunately they didn't have the sound connected up to the PA system, but as I was only a few seats from the laptop I managed to catch some of it. Igor Mitoraj appeared at the exhibition to see Virginia. After the talks, we all gathered on the steps of the church (Chiesa di S. Agostino) and the doors were opened dramatically - such different traditions to the UK.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Preparing ceramic shells for a bronze pour On Saturday morning when I was loitering in the yard looking at lots of bronzes that had just been sand blasted, one of the foundry guys beckoned me over to asked me if I wanted to see them loading the ceramic shells into the kiln. "Si Grazie..." They have a large trolley on rails that was loaded with about 4 large shells and lots of smaller ones packed around them. I was surprised that the large shells were the right way up, as I'd assumed they would be fired upside down to let the wax out. However, they explained that they had made holes in the ceramic shell to let the wax out. The smaller ones were all upside down. They then raised vertically the large door of the kiln and I felt a blast of heat from the inside of the kiln which was already at around 650°C. The trolley was moved into the kiln and the big door came back down with a large metal drain pipe poking out stil. Within a couple of minutes the wax started pouring out of this and was caught in a very large saucepan which had to be emptied regularly. They explained that the kiln would be kept at 650 till all the wax had melted, then it would be taken up to 900 for about 6 hours to fire the ceramic shells and then cooled slowly over the weekend. I should come back on monday morning and they would show me the rest of the process. So about 8 am on Monday I returned, this time with camera in tow to watch the next stages. They were going to cast a large piece of the fountain they are currently working on. As it was so large they wouldn't be doing anything else with it. First of Enzo was having to fill each of the holes that had been made to let the wax escape - this was done with a dab of ceramic liquid and a little chuck of ceramic powder - followed by a quick flame throw to 'fire' it. For the large fountain - this took around 1 1/2 hours! Meanwhile, Maurizio was getting the bronze weighed out and ready for the furnace, as well as the large container that the shell will sit in. This is lowered into a hole in the ground to make the pour easier. They waited until Enzo had nearly finished patching all the holes in the shell before lighting the furnace - they wouldn't want to have to keep the bronze at full melt temperature for any length of time. The furnace was loaded up with off cuts of bronze from previous cast's runners and risers, and eventually some ingots too. When the shell was finally patched, it was hoisted up, and lowered carefully into the large container, which had disks of felt positioned under where the steel legs of the framework came. These legs also had rectangular pieces of rubber attached to them. The container was then filled with sand from 2 large drums. I was then hoist out of the hole, and had a machine attached to it to vibrate it so that all the sand was well compacted. The container was returned to its hole in the ground, and the top was sealed with a sheet of plastic before the vacuum pump was attached to put the whole container under negative pressure. More sand was then placed over the sheet, presumably to protect it from melting/burning from bronze splashes. The shell was finally ready for the pour. All that was needed was for the bronze to get to the right temperature and for all the required people to arrive.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Primavera al Mare So - today is spring at sea - which comes a whole month before spring on land. We had a lovely sunny day today, so it was almost feeling spring like - and as I got another text from home telling me it was snowing, I definitely was glad to be in Italy!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 My mother is great! Not only has she given up her life in London to spend a few months in Italy looking after my adorable but rather strong willed 2 year old, she is also being massively supportive and doing all the domestic stuff so I can just work - she jokes that she is my wife! The average day starts with me getting up around 7am, having a quick bowl of porridge in the gloom and making myself a cup of tea in a thermos mug to take with me to the foundry, where I work till the horn goes off at 10 to 12.  Meanwhile, my little son was got up and dressed by his grandma, who has also made sure he has a good play in the garden or an hours walk around town. My mother also does the shopping and makes sure she has lunch waiting for me at 12 when I get back! I have a little play with him then head back to the foundry a bit after 1, and he goes down for his afternoon nap. This evening at 6 when I was cycling back, I ran into them both in the main square and we had a cycle and scooter together (when he wasn't busy chatting to little girls his height or showing off on his scooter). After a joint supper, I do the bath and bed routine, then its time to check emails, research online, write my blog or the odd skype call to the folks in London. And I occasionally help tidy up too... Not content with thus waiting on me hand and foot all week - my mother insisted that this weekend when I got to see my husband at last, that we should go out for dinner on our own whilst she babysat for us. It was so nice to catch up and spend some lovely time together, definitely essential and much appreciated. In addition, my son is flourishing. He is happy, full of beans, and shooting up (the trousers he was wearing today are definitely too short now, and I'm sure they were fine before). He is also learning to say Ciao Bello (which is what all the locals say to him!) So - the secret of how to do a residency with a family - skype is quite usefull but take your mother with you ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 The display issueTrusting yourself or allowing others to help you grow... So, over the past week or so I have been having a number of trials and tribulations over my first wax. The main part of the piece developed easily, in particular as it was the week that Helaine was here, and she was popping in to the foundry daily to discuss how it was going. On one day, she raided the issue of how I might mount it, as the piece is more of a surface fragment, and the exact angle of it is quite critical. The next time she was in, I showed her a solution I was developing to this, which would extend the piece downwards. She was excited about what I was proposing, but I was having problems really making it work. I then worked further on it, and had one of those small 'a-ha' moments, when I saw it in another light, and came up with a totally different way of doing what I was trying to make work. Thus in my mind it was still the same solution, but resolved in a slightly different language. Helaine was leaving the next day, and the last time I'd seen her she had said that she might come by the foundry on the friday afternoon, but wasn't sure. Excited by my new solution, I sent her a text to let her know that I did have something to show her if she did come by. It turned out she had been up a scaffold working on one of her amazing large marble works at Sem, so had not been able to make it. Instead she called me, and I made the mistake of trying to explain my work over the phone - which is fairly hard. She wasn't convinced by what I told her, and encouraged me to be sure and explore all avenues. The next week I played around with a number of small maquettes of various solutions, but kept coming back to my original small maquette that seemed to work. So I decided to  pushed ahead with it on the main piece. It all worked a dream and came easily, developing and resolving itself in a really rewarding way. I always think this is a good sign. So, I decided to trust myself. I talked to the foundry about getting it made into bronze and I fired off an email to Helaine with a photo of the finished wax. I had that wonderful sense of elation when a work is resolved, yet I was also full of anticipation as I was looking forward to talking it through the casting process and start learning all the other techniques new to me. Then a couple of things happened that got me worried... First I got a call from Shelley Robzen. She is a nice american sculptor who I had lunch with on the first day. She had come by the foundry to see my work. She said that she had been very taken by work piece and had been thinking about it a lot (very flattering), however that she wasn't that keen of the lower half. She was quite apologetic and unsure whether to tell me this, but as she knew from what I'd said that I was keen for critical feedback/mentoring, she was happy for me to come by her studio to discuss if I wanted.  The other things was that I got an email from Helaine with the following: "I love the  new form itself but still am a bit concerned about how you plan to 'present"it. Too simple a structure could trivialize the originality and toughness of the piece and its tension. I still see your original solution so clearly and want to put  in a last minute word for you to reconsider it!!!" Hmmm - as you can imagine this was perturbing. Was I too attached to the form of the base and not seeing clearly how it worked with the top. William Faulkner said about deleting material he was fond of because it intruded on the story as a whole "sometime you have to kill the little darlings" [From Film directing fundamentals: see your film before shooting By Nicholas T. Proferes] As I'm out of time and space, I will have to tell you how this resolves tomorrow...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 So, did I need to kill the little darlings?(see previous blog) I ran into Nigel Boonham who is my neighbour where I'm staying and is a really interesting English figurative sculptor (www.boonham.com, he has been here since September carving 2 large pieces in Marble for the Syney Cathedral). I mentioned my problem and he gave me some great advice: That you can listen to others, but in the end you have to trust yourself as sculpture come from in here (tapping chest). When I replied that I was worried that maybe I wasn't seeing it clearly, he suggested if I wasn't in a hurry to cover it for a week, then look again. He told me it would talk to me. He said sculptures tell you things. This reasured me as it meant I had another tool to rely on. On monday afternoon I went to visit Shelley in her studio. This was fascinating and a real priviledge to see what really seemed like someones inner sanctum. I was slightly jealous and impressed by how zen it was - it was a lovely proportioned room with hight ceilings which felt very close to a cube in proportions. She had 5 sculptures on plinths under a high window with natural light streeming down on to them, and apart from that there were the bare essentials and workbenches for working and some very well organised shelves. She also seems to have a very clear working method - so like the icon painters, a simple set of rules within which to be free to create. I am the opposite - a horder by nature, my studio (in London) is overflowing with all sorts tools and materials, and everytime I start a new work or project, I will reinvent my materials and working method. I wonder whether this is just  a reflection of the stage I am at in my career/creative development, or how much this is also inherent in my nature. I partlly envy people who are very minimal and zen, yet I know it wouldn't suit me and I would feel an emptyness without my clutter and a fear of unimportance without complexity... Anyway, back to the little darlings issue, after chatting about various other things and a lovely italian coffee, I went through my photos and sketches and we talked about my piece. I think I was waiting for an epiphany moment, where I would suddenly solve all my problems and see it all clearly - but although interesting, nothing changed. I wonder if we were both a bit too warry to delve in too deep, or maybe I was hoping for too much, but I remained a little unconvinced that there was a better solution that would enhance the piece. And probably rightfully, Shelley didn't criticise my existing solution harshly enough for me to move my position on it. That afternoon back in the foundry, I played around with a few of her ideas, and spent a long while looking at my piece in a mirror or in photos... The more I looked at it, the more it all seemed to be one piece now. I was rather worried about what Helaine would say when she came the next morning - what if she too was unconvinced. I would have to resort to Nigel's advice on wrapping it up, but I still wanted to get on with the foundry process. In a panic i texted Immanuel to see if he could come by to have a look too - maybe I wanted someone on my side to brave more criticism the next day... However it turned out he had his phone on so only got the message the next day. The next morning I had my 'finished piece' on another turntable, and was busying myself with some new experiments pouring wax into water, and in my nervousness managed to spill almost a whole bowl over the floor. I was just spreading newspaper over the mess (no mop!) when Helaine walked in... She seemed not to notice and I showed her the work... which she loved!  She said the photo really didn't do it justice, and she loved the way it had curves and added drama to the piece. That it was much better than the 'original' idea. For a moment I wondered whether I should still wrap it up for a week, but hell I couldn't wait any longer, its now on its way to bronze...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 I had a little bit of an afternoon off - or at least out of the Foundry... Pietrasanta feels a bit like being a student again, where you can just cycle over and pop in to visit people! After lunch I visited another foundry. I had met an american sculptor called Julia from Atlanta, who had told me she was working at the Fonderia Del Chiaro, where they do investment casting. She kindly offered to give me a tour. In some ways investment casting is very similar, but instead of using thin layers of liquid and powder to build up a ceramic shell on the wax, they use a thick investment which seemed to be a mix of plaster, sand, brick dust and there was even a pot of what looked like saw dust. The pieces ready to be poured looked like amazing bee hives, or large terracotta urns! One of the main differences is that when they are making the wax in the mould, they pour in the central investment before taking the wax out of the mould. This means that the wax is very robbust, and it is easy to retouch without any steel structure around it. This is what had drawn Julia to this foundry. She showed me 3 small pieces outside that were part way through the patination stage. The were models for larger pieces that she had already done: a horse which was very dynamic, and a double portrait of 2 boys - which had been a life size and mounted in a swimming pool, and a Saint with 2 small babe at her feet. She was also working on some interesting new pieces in both wax and clay.  I also saw a lovely big studio they use for doing enlargements and sculptures. It has a stunning bronze cast of Michaelangelo's David. It has been years since I saw it, and it was stunning seeing it so close up, and looked good with a lovely new patina on. I must go to Florence soon and revisit my old favourite italian masters :) I was also interested to see a steel and chicken wire armature of an abstract piece with expanding foam in it (which I've been using in the UK recently). Overall the foundry was very different from Mariani's - it felt fairly quite cosey, definitely a lot smaller and a bit slower paced whereas Mariani is an amazingly efficient and professional outfit, powering through large quantities of work, with each artigiani team specialised in a small part of the process. But Del Chiaro (from what Julia said) also has like Mariani amazingly skilled and creative Artigiani. I am constantly amazed at Mariani's how they take the time and care to do things in the best way possible, rather than the constant pressure you find in most modern life to cut corners and time to make more money. If they don't have the right tool or equipment for something, they make it.  I have since found out that Mariani's method is a lot more accurate and better at capturing detail, but Del Chiaro's are able to do very large (5m I think) casts in one piece. After leaving Del Chiaro's, I popped into Marco Giannoni's Marble Studio (which is nearby) to see how Hakon was getting on, and maybe to get sight of the marble sculpture of his daughter before it went to Oslo. Unfortunately I was too late - Hakon had left on Tuesday, and the sculpture was just being lifted up in its crate and loaded onto a truck. It turns out his show opens next week! Instead I popped over to see Giuliano Correli who was progressing with his marble carving of a man standing with octopus arms round his legs - and I found out about a resin he uses that is non-toxic: plasticrete (might have to investigate this, as the bioresin I use in the UK is very difficult, but I don't want to go back to the nasty polyurethane stuff that is carcinogenic...) I also had a long chat to Marco Giannoni - he is really friendly and was telling me all about helping Hakon setting up his last show in Norway 2 years ago, and how cold and dark Norway can be in winter! He was also telling me how difficult all the logistics with marble are once you leave Pietrasanta, as people don't understand how heavy yet fragile they are. I then had tea and an interesting catch up with Helaine.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Something very strange has happened... My younger sister gave me a great book for Christmas: "At work in Paris - Raymond Mason on Art and Artists". I started reading it when I got here on the 1st Feb. As I was saying to my parents last night, I don't know his work, but I think he should be a lot better know than he is. Unfortunately he was not only a figurative sculptor, but also one who believed that art should be about real life and appeal to the public. His concern for content was against the fashion and flow of his time as he was working during first the modernist era with the primacy of the object and 'how' (not why) of art, then with pop art. His memoirs are great - he is amusing and at times quite cutting about his contemporary artists and gallerist, then very challenging and insightful about art and artists. He was friends or aquainted with an amazing roster of artists, Giacometti, Francis Bacon Balthus, Jean Cocteau,  Alexander Calder, Cartier-Bresson, Picasso, Henry Moore... he was "admired by artists whom the public admire and ignored by most critics".* It has been weird reading about his ideas and opinions at this influencial period for me, where I feel I'm going through a real period of growth and change in my practice. I almost feel like he has been a second mentor - not that I always agree with him, but I do respect and listen to what he has to say. Then as we were talking last night I decided to googled him (I had already been looking up and investigating photos of his work). And there on his wikipedia entry I saw that he has just died - on the 13th February! It really shocked me, and seems strange that he should have died whilst I've been getting to know him. It also seems that his Obituary is just hitting the newspapers yesterday and today (in fact it is the lead Obituary in yesterdays Telegraph that my father had just brought from London - how strange is that!). Please do look up and find out about this fascinating artist. Raymond Mason RIPMarch 2, 1922, in Birmingham, England – February 13, 2010 in Paris, France   * Telegraph Obituary:   http://www.telegraph.co.uk/news/obituaries/culture-obituaries/art-obituaries/7318726/Raymond-Mason.html Guardian: http://www.guardian.co.uk/artanddesign/2010/feb/25/raymond-mason-obituary... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Molten Wax Experiments I've been doing some experimental pieces involving pouring molten wax into a basin of cold water. It is quite tricky to control, but I find with wax that has cooled a bit, I can get some really interesting forms and beautiful natural textures.  I've then been cleaning them up to find interesting mini sculptures. Or with the hollow pieces, I can really push and pull the wax around to model it. Here are 2 examples. I find the second one (vulture) really intrigueing and strange. I said to Helaine that I liked it, but I wasn't sure it was very 'me'. She said sometimes things you don't think are you, are actually more like you than you think. But in another discussion we were having she was talking about people who carve stone directly and are lead by it. I can't remember her exact words, but she was saying how important modelling was to be consciously involved in the piece. My worry with the MWE is that the found forms in the wax are leading me too much. But I also think I have a lot to learn from the process, so I am happy to continue with it for the moment.    ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Enlarging I have started enlarging one of my small maquettes - the whale head one from the last post. I am only doing it 3 times in size, and as it was only 8cm to begin with, the new piece is still quite small at 24cms. I was encouraged to enlarge in wax by Helaine on Monday before she left, as I think she is keen for me to try to learn stuff from the foundry. Its working as they have taught me the scale of proportion to use when enlarging. I already knew how to draw 2 lines to help you scale down when you are doing figure sculpture, say 1/2 life or another proportion. But it doesn't work for enlarging. To enlarge it is quite easy to construct. On a large sheet or board, you first draw a horizontal line. Then you draw a perpendicular vertical line (around the middle) the height of your original - in my case 8cm. Then, to the right of the sheet, you draw another vertical line - this time the size you want your enlargement - i.e. for me 24 cm. Finally, you draw a line that connect the tops of the 2 vertical lines, and extend it to the left until it crosses your horizontal. Your scale is now ready to use. Take a measure off you maquette - for e.g. the max width. Mark it on your maquette vertical (the smaller vertical line). Then draw a line from the origine (where the 2 long lines intersect) through the mark on the maquette line, to the sculpture vertical. This then gives you the sculpture's max width. So, I am now using this technique, and a new set of beautiful hand made calipers I splashed out and bought from Milani's, to enlarge my maquette. I wasn't sure what Helaine had in mind with the enlargement, but I thought I would try to produce a wax that could be cast directly (i.e. needs to be hollow and not too thick). The other option would be to work in wax on a solid piece but this would then need a mould to be taken of it, before a second wax could be made that would be of the correct thickness. So, I am making the sculpture out of thin sheets of wax. Raymondo has made me up a modelling wax with some of the brown hard wax added so it is a bit stronger than the normal black modelling wax. I am slowly bending and shapping the sheets, trying to get the subtleties of the original maquette, as well as understanding the complex forms and curves. I am learning quite a lot about wax and what it is and isn't capable of. I learn to heat locally with a hairdryer to warm the wax that needs to either be streatched or compressed. I feel slightly that I am doing something a bit strange and giving myself a mountain to climb to get the subtleties of the original maquette, and its probably not the most efficient and quick way of producing a sculpture, but we will see what I end up with. I started yesterday afternoon, but had to discard that 1/2 days work and start again this morning, having worked out better how to use the sheets of wax. I'd like to finish it by lunchtime on saturday - or at least have it all in place and constructed by then, even if I then work into it again next week... (you can see progress in the final image attached) At lunch I popped in to the other foundry again, as Julia had told me that the italian girl who is using expanding foam has nearly finished the piece I saw the other day. It was great meeting her, she is Morgana Orsetta Ghini http://www.mog-art.com She seems to be very prolific as there are a lot of works on her site. But despite this (or because of?) she has done some really interesting work, using lots of different materials, marble, iron, resin, even watercolour, jewelry, cushions! I showed her a couple of my wax maquettes (at Julia's suggestion) and was telling her how I was thinking of enlarging the vulture-like one, about 3 times (Marcello had told me the pantograph only really works accurately 2.5 - 3.5 times). She though I should do it a lot bigger, at least 6 times. Then she said it would look good the size of her piece (over 2m high!) - hmmm, that would be exciting...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Foundry Life Sometimes I feel like I'm in a bit of a surreal environment, and I don't think it is just my partial italian only understanding part of what is going on. It becomes far more surreal as I understand more. Little Carlo in the wax casting room was 8kgs when he was born - that is over 17lb! (He definitely wasn't little then, and still isn't!) Alfredo was telling me how he likes eating raw garlic and bread. However one day he accidentally ate his mother's black tulip bulbs! (he pollished off 2 of them even though he thought they tasted a bit strange...) Yesterday I learnt a new word: Campanilisma - from Campanile, the bell tower that every town has. I was asking Ste and Carlo if they were both from Pietrasanta, and Ste wound up Carlo by telling me that the later had actually been born in Camaiore (the nearest town, only about 20mins away). Pietrasanta and Camaiore have a lot of rivalry, also know as Campanilisma. The other thing I find amusing in the foundry is the different taste in music in each area. In our wax room we tend to have slightly slushy music - we've even had 'dipinto di blu'! yes, they are still playing it. And another current favourite is 'da mi tua amore, chiedere mi niente, ho bisogna di te' yes, lots of love, and then something about green eyes. And to this the artigiani carefully retouch and smooth wax sculptures. In the wax casting room they are doing more manual work, using the gantry crane to lift and empty moulds full of wax and welding external armatures together. They tend to have more rock and contemporary pop, which also tend to be english speaking music (generally better!). However, the large metal workshop downstairs has far more pumping music, to go with the sound of hammering metal and angle grinders - the other day they had Dizzy Rascal's 'some people call me crazy...', and this morning they had some pumping harsh italian rap, which really made me smile as I walked past up the stairs. All in all, I feel very at home in the foundry, and it is sad to think that I'm already over a 1/3 through my stay here. In other news - tomorrow evening there is a big meeting in town about the future of Pietrasanta for Artists and Artisans. It is organised by some artists who are worried that the local council are forcing most of the marble workshops in town to close. Apparently 15 years ago you would hear the sound of marble being worked all over town, but now is it only in a few places. I get the impression it is due to a combination of new laws about health and safety standards and noise polution, along with the increasing affluence in the town due to tourism encouraging properties to be redeveloped for restaurants or chic appartments. Anyway, I'll probably let you know more about this later.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Tonight's meeting: As I only mentioned this briefly in my post last night - I thought I'd post the information I got on this.     Pietrasanta 25th of February 2010 Dear artists, artisans and citizens of Pietrasanta, Citta d'arte: On the 5th of March at 17.00, you are invited to an open meeting in S. Agostino Sala dell’Annunziata, Pietrasanta, Lu Italy   Pietrasanta and the Versilia area is by now world renowned for the exquisite craftsmanship of its artisans in mosaic, clay, metal, bronze, plaster and marble sculpture and ornament for centuries. Today the artists and artisans are concerned that the future of Pietrasanta as a thriving centre for artists and artisans is at risk. In 1979 Pietrasanta boasted 120 marble studios; today there remains less than 20. Young people seeking to apprentice the trade of marble carving are few, in part due to the labour-intensive work with stone and in part because of the current social stigma of earning a living working with their hands. The artists, since the 1960’s had found Pietrasanta and its citizens open to embracing the young sculptors flocking here, having followed in the footsteps of some of the most celebrated sculptors in the world. Housing was inexpensive and many found lodgings in single rooms let by the citizens. Today because of the evolution of the town and surrounding area the cost of housing is prohibitive for young artists. The cultural legacy of the Versilia and of Pietrasanta in particular is not only a local but also a national treasure. Given the current direction, Pietrasanta will soon become a museum city, losing its capacity to produce works of art; hence, losing the artists, clients and the tourist trade so vital to keep alive this “City of Art”. Many businesses in Pietrasanta and in Versilia owe a large part of their income to the presence of the artists and their clients, as well as a huge number of tourists who flock to the area year round to see the marble workshops and the fascinating array of international sculptors working in Pietrasanta. This meeting serves to create an open forum to discuss the current status of the city and its future; to listen to observations, ideas and possible solutions from all those interested in the preservation of a unique town and its magical draw to so many. We need your participation and ideas. All are welcome on the 5th of March at 17.00!!     Talk to your friends and pass this email on to your contacts. And invite them all to come too. We need to solve this together.   On behalf of Comitato Artisti Artigiani, Julia Vance Contact: continuart@continuarte.org  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Fuzione, Sabbiare, Finitura... On friday, about 3.30pm, I watched my first bronze being poured! My piece is actually now in 5 bits to be cast: the figures and then the support structure were both taken off to be cast separately, then I also cast 2 extra figures in case the first 2 didn't come out, then we also did 4 extra arms (2 right and 2 left) as the arms are very thin and there was a risk they might not come out. (I have meant to blog about the earlier stages of conversion from wax to bronze but haven't had time yet, so will do that later - as I also have some nice shots of it all.) This morning I got to find out if the pieces had come out OK. I went down to the foundry room, and asked them if I could chip out my pieces. Initially one of them showed me how to do it, then I took over. I was using a hammer, and when required a couple of chisels of different sizes. The trick is not to hammer or chisel onto any of the bronze of the actual piece as you can dent it. But you can hammer quite happily on the runners and risers.  I started with the main 'wave'-like bit of my sculpture. It had been tied up with lots and lots of wire for added strength in the ceramic, so I also had to cut and remove the wire as I went along. A few of the toothpick trees hadn't come out, but otherwise all was good. I then did the bamboo legs of the sculpture. I knew my piece so well, but even I had to keep thinking to remember which bits were sculpture and which bits were the sprues. I managed to chip off most of the ceramic of the non-sculpture bits, but the main bamboo rods were all thoroughly covered - so I had to ask for help. In fact what you have to do it bash really hard on the main base sprues, and the vibrations travel along the piece and crack and loosen the ceramic shell! I then got out the figures out, and again had to resort to help, as I wasn't brave enough or strong enough to shift the ceramic. However, I did discover that the bronze had managed to get to all the extremities of the figures, and despite the odd crack in an ankle, or a slight fault where the 2 figures meet, it was all in very good shape and would be fine with a couple of solders. I then left the 5 bits outside the door of the sand blasting room, and was told to come back at 1.30pm for them. When I got back after lunch, they weren't quite finished, but I managed to peep through the little hole in the side of the building and caught a little glimpse of them being sand blasted. The figures were finished, so I took them through to the small metal workshop to start the 'finishing' - finitura. One of the Artigiani soldered the relevant bits for me. They have a very accurate oxyacetylene torch, and I think it was a silver solder they were using. He did a very neat job. One of the others (Roberto I think he is called) told me that I was being helped by a professor! In fact, he was teasing him because he teaches foundry work at the Art School here. He then cut off the sprues for me, and set me up next to Massimo to clean up the piece. I was given the use of what I thought was a dremmel, but in fact is a compressed air rotary tool. It was an absolute dream to use, not at all comparable to an electric dremmel. I think it goes a lot faster, and seemed to vibrate far less. I started getting used to it, and found I could almost model the bronze, stroking it gently and easily finding the surface of my little figures - the curve of a chin, the crease of a bottom. Given the figures are the equivalent of about 5cm tall, it could have been fiddly difficult work, but by the end of the day, I'd nearly finished the 4th figure!  Tomorrow I start on the main bits of my sculpture!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 We are waiting for snow! Or so tells me Raymondo, who likes to follow satellite photos and predict the weather.  Apparently it tends to only snow in Pietrasanta about once a year, usually in February or March. The temparature has certainly dropped again after a few balmy spring like days, and I've had to get my long johns out again! I had a great morning 'chasing' again - i.e. working the bronze to get rid of the sprues etc. I finished the 4th figure, and have nearly finished the legs of the piece. I learnt a clever trick on how to make the base flat: they have a flat slab of marble which they blacken with the flame of the oxyacetylene torch, then you can rub your piece on it to see which bits of the base are lowest and need grinding down. My mother has just come in saying its definitely threatening to snow as she's seen the odd snow flake. Typical - just when my husband and father are coming out for the weekend - although Raymondo also says that it should be sunny on saturday and sunday. I hope he's also right on that. Lunchtime, then back to the foundry for some more chasing - I should be working on the main bit of my piece. I then have life drawing tonight at Marcello's and I need to talk to him about enlarging, maybe next week... I might ask him what he thinks of me going bigger than 3&1/2.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 4pm expresso break I take mine 'a l'americano' which means that it is about 30ml, instead of 10, with a sugar. I down it quickly over a short chat with Carlo and Ste, standing by the Lavazza machine.  Today we were discussing National Health Service in UK and Italy (with a brief mention of US, and an american sculptor who didn't want to go to first aid despite a gushing wound and cut  tendon over fears of cost!) Then I return to my stool and my small wax figures, the delicious taste of sugary rich coffee lingering in my mouth, and a slight head rush and supper alertness from the caffeine rush. I'm putting together a Pyruvate molecule made out of small figures. The structure is CH3-CO-COOH - the Cs are men, the Os are women, and the Hs will be babies. I'm developing a technique to make them directly out of wax (so ready for bronze casting), using the brown hard wax as an inner harder armature, covered with the softer modelling wax. It seems to be working ok and its easy to control and change. Although I only just started today so we will see what happens when I start putting them all together.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Preparing the spare 'arms' for casting A couple of weeks ago when I finally decided my first piece was ready for casting, it was then handed over to Alfredo to add the 'collate' (wax sprues which will become air tubes for delivering the bronze to the whole piece). My piece was split into 3 bits for casting (more of this in another post). But in addition, Alfredo was worried that the little thin arms of the figures might not come out, so we did 2 extra of each arm to be on the safe side. Here are some photos of the process. It was amazing watching Alfredo - with rather large hands - carefully working on my detailed pieces with such precision and calm.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Oh bugger... Just got an email from london - the artist who I found to sublet my studio to has had a change of circumstances and has given me notice... i.e. doesn't want to sublet for April - that sets me back £200 I was expecting, or really more, as I'm paying £250/month. So... if you know anyone who needs a studio on the Fulham/Chelsea borders: Great studio for a sculptor - in a foundry Ground floor sculpture studio with car parking and good access, sink, heating, warm water, additional outdoor space to work, sharing with another sculptor who works about 2 days/week (each with own area of space). Normal rent £250/month, offered at £200, available for the month of April 2010. Would also be suitable for other visual arts/crafts. Near Gasworks SW6, 5 mins walk from Fulham Broadway tube on District line. (Images available on request and viewings welcome.) Possibilities of longer term studio rental available. Contact Briony Marshall: me@briony.com Please spread the word, but I'm not hopefull...  :(... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Metal, Tea and Blogs This evening Helaine invited me to tea along with Maria Gamundi and Shelley Robzen at her studio. It was so lovely and really interesting. I felt privileged being allowed into an inner sanctum with these 3 established sculptors, who are all so generous with their time to me and interested in what I have to say and think. We also talked about my (this) blog! Johannes Von Stumm, President of the RBS, had told Helaine that she must read it (he has also sent me some lovely emails too including: "I am glued to the screen and enjoy it very much.") so she looked it up and apparently was quite surprised and impressed with it. She thought the RBS should put it in their weekly ebulletin! Shelley also mentioned that she had read what I had put about my visit to her studio, and was really touched. She even said she might want to quote it in a catalogue some day. She also said that the way I wrote it was great as it made her fell right there with me. It is strange as, being a visual artist, and never being very strong at the humanities at school (I was always more of a scientist) I don't really think that I'm any good at writing. However, the process of keeping this blog has been very interesting. I find myself thinking what I should write about and how to capture the various experiences I'm having. It seems to be a way of digesting and analysing the whole experience. At times I think about the audience, and how to interest them and draw them in. But most of the time I try to forget that anyone might actually be reading it (especially anyone I might know!) It was great hearing them reminiscing about their early days in Pietrasanta, when there were only a few artists, and even fewer who were women. Tales of endless massive delicious meals; Of long discussions between artists in the marble workshops; and things they had learnt that are still relevant to the way they work today. However it did remind me that one of the things I'd expected to be doing here on my residency, which as yet hasn't materialise... I'd been told that Pietrasanta was such a mecca for Sculptors that I'd imagine I would be having long discussions about sculpture and art over meals or drinks - but it is hard to intergrate into a community just like that, so I think I need to make more efforts to invite myself into other people's lives! That said, I have been invited out to dinner tomorrow evening with some of the artist from the life class, so maybe it is just one of those things that takes time. I was actually a bit late for tea as I'd got so absorbed in my work in the metal workshop that I'd lost track of time. I must have missed the 5pm siren when we were re-sandblasting my first bronze, which is really very nearly finished. Massimo had been helping me with all the things I can't do. The 2 small figures are soldered back into place, and it is attached to its purpose built new brass base. It was fascinating how effortlessly and quickly Massimo sorted out the base. I probably took nearly as long to decide the exact positioning of the piece, he then marked of the 3 leg positions using a marker pen. With the sculpture upturned, he marked a small hole using a rotary tool in the the centre of each leg by eye, then used a drill to make a hole. He then took a hand tap (I just had to look that up online to find out what it was called) and cut the thread. Again by eye he marked the centre of the marker pens circles left on the base (with a quick glance back at the holes in the sculpture base to cross check - particularly as one the the legs joined the base at an angle making more of an oval shape). It amazed me that he did it all by eye, and is probably far more acurate than I would be if I tried to measure it all accurately. 3 holes were drilled, 3 brass screws were cut down to the exact size required, the burs all tidied up, and the base was screwed into place - simple - when you have 37 years of experience :)... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Foundry Artists I have been enjoying watching some of the work going through the foundry, and have started getting to know the different artists works. One in particular I really like is the work of Dana - in fact, Yves Dana, a swiss sculptor: www.yvesdana.ch Today as I was in the metal workshop he game in to work on one of his pieces, and I was brave enough to introduce myself. My piece was nearly finished, so he looked at it and said he thought it was really interesting. It was very exciting. Tonight I googled him, and saw some even more interesting work on his website, and I'm even more excited to see he has a show in Pietrasanta opening on Saturday. I wonder how done it is here to just turn up to a private view... Another one that has some interesting work is Vangi - there is currently an amazingly exciting piece of a motobiker, in which he has stretched, enlarged and doubled up the right hand to show it moving - something which could be crass maybe - but which has been amazingly executed. I haven't found a good site of Vangi's work but here is one in Italian that has a few interesting ones: Guiliano Vangi http://www.scultura-italiana.com/Biografie/Vangi%20Giuliano.htm Maria was telling me that there is a Vangi museum in Japan as he has a fan there who has set up a wonderful sculpture park dedicated just to Vangi. So if you can read japanese: http://www.vangi-museum.jp/   Dinner I just had a nice dinner with Julia the american artist. Unfortunately her other 2 artist friends cancelled on her, but we had a nice pizza at a very quiet Il Vatican, and had long discussions about art, transformation of consciousness, states of flow, craft vs concept, material and others. She told me her art bible (that she re-reads regularly) is Henri - the Art Spirit. We also agreed to swap art books, she is reading Ansel Adams and Judy Chicago (a feminist artists who I've never heard of...) - and I have Raymond Mason to lend. I also found some other books I had brought with me to read, including Bouriault's Relational Aesthetics which I'd forgotten about - might have to read that...   New Studio Tomorrow I'm off to Marcello Giorgi's studio to start my enlargement and learn how to use a Pantograph, so must go to bed so I'm fresh for it... I'm very excited. Will be very exciting understanding my little maquette as well. This afternoon I tidied up my place in the wax room as I'm probably not going to be at the foundry for about a week, was a bit sad. A slight foretaster of the fact that I'll have to go for good in about 6 weeks Yes - I'm already half way through! :(  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 The Pantograph I am absolutely loving doing my enlargment using the pantograph. The first day and a half was a bit frustrating as it takes a while to set everything up and get the armature sorted, but I started putting on the clay yesterday afternoon and it is so absorbing. Its fascinating enlarging and reproducing the forms of my maquette and as it is a process of really looking and understanding, and with the help of the pantograph it can be a really faithful reproduction. I'm also enjoying working loosely in clay, after the precision of the wax, and I'm excited about the piece and how it is developing. I have my lunch in front of me and a toddler trying to climb on my knee, so I'll have to write more later, however as i'm out tonight I just wanted to capture the moment and the feelings I'm having...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Preparing my first wax for Casting As it is a complex piece it needs to be separated into 3 bits, and to have all the wax sprues added. Once the piece has been covered in ceramic shell and baked so the wax melts away, these sprues become the tubes that deliver the molten bronze to the space which will be the sculpture. (These shots were all taken on the 24th Feb) ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 New Clay Piece - Pantograph enlargement I've not had a chance to blog recently as I've been working long hours on my new piece and have been totally absorbed. It is going really well.  Using the pantograph was great, but it does have its limitations and is not that accurate at times. At one point I thought that either my maquette had moved, or the clay was subsidding, but it turned out that the needle on different settings won't always point to the same point - especially when fully extended as the weight of it bends it. A few people have said interesting things to me that I've been thinking about: I had a chat with Nigel Boonham at the Yves Dana private view on saturday - He asked me how I was keeping the freshness of the original. At the time I didn't think this was a problem as I'd been working quite loosely with the clay, quickly sketching the forms. But as I am working back in on the piece to refine it, I'm finding this is a big problem. The movement and vitality of the initial form has a tendency to get lost. But I can't just leave it as is, as it has a few ackwardnesses and really could benefit from being pushed further. I also showed it to a few of the people who come to the life class on tuesday evenings that Roberta runs. In particular Julia Knight the american sculptor I've become friends with. She asked me how the piece had changed for me as it was being enlarged.  I started to tell her how I felt I'd been learning about these amazing, strange and subtle forms that were in the molten wax. I was a bit put out as she didn't seem that interested in that instead saying - "ah, so it is still just forms at the moment".   However since, I've realised that it has to be more than the sum of its parts and perhaps I was shying away from the whole piece's meaning as it is a bit daunting. Now that I have the model down from its perch under the pantograph, and can look at it, and my developing clay together, I am thinking more of the whole piece and what I have there. I had also been thinking earlier in the week about what it is and what I am trying to say with it. I don't really understand the piece, it isn't how I normally work, but it intrigues me and I am loving the process. I can't help thinking these are good signs.  I remembered reading about some artists who equate their practice with being a shamen - that you are tuning in to something greater than yourself to bring out a universal truth. In many ways my bird like apparition is similar to ritualistic artifacts from past civilisations - african masks, south american gods... but I think it also has elements of the things that have been concerning me lately: the untameable powers of nature, and yet its fragility in the face of man's abuse (in the context of climate change and the many ecological disasters we inflict on this poor planet) Perhaps the vulture like qualities of the bird is a representation of death and chaos that could ensue if we get run-away global temperature rises, our 6 degrees of global warming. It seems weird that I have brought out all my concerns in a very intuitive piece, when I normally work in a very conceptual intellectual way. I somehow worry that I am reading in to an accident things that aren't there, but when I look at the presence and power of the piece I don't think this is the case. In some ways I also feel like I do with most of my best pieces, that I seem to have accidently found it, not that I had all that great a part in creating it. Ok - better stop now, I hadn't intended to write so much as I want to get back in to the studio to continue, but in the quiet of the apartment with sleeping mother and son I can think more clearly than at the end of the day, after my son's asleep, when I'm exhausted and just want to hit my bed myself.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 7.20 am Saturday Morning: Gutting! So, I decided to go into the foundry today to continue with some work I'd been doing before I started doing my enlargement at Marcello and Roberta's studio. Given it was only half a day and I'd have to get back into something I hadn't touched since tuesday before last, I decided to try to get a full 5 hours in before the foundry shut at 12. Last night I packed myself a little breakfast of biscotti with nuttella instead of having my usual porridge, and I thought I'd supplement it with a strong 'cafe' from the wax room. As I was cycling there through a very quiet Pietrasanta, I suddenly had a worry as to whether they would be open. I hope there isn't another strike I don't know about. Or would it be quiet as it is nearly the end of the month. At the end of February there were only a handful of people there on the saturday as the rest had already done their maximum number of hours for the month. But that time the 1st was the monday, Its not the 1st till Thursday. But yes, as I approached the foundry there were about 2 cars in the carpark and only a single vespa, and most of the foundry was in darkness, including both the 'officina piccola' - where my 1st bronze is nearly finished - and all 3 of the wax rooms. I still walked all the way up to the wax rooms, just to double check I couldn't get in... then on my way down again saw Enzo from the 'Fusione' department, who confirmed that hardly anyone was in as they'd all done their hours already. He said normally if people are going to come in, they'd be in by 7, but some might come at 8. So, here I am back at the flat, with a mug of earl grey sitting on the terrace on a slightly chilly grey morning! I'm going to go back a bit after 8 and hopefully someone from the office will be there to let me in to the wax room. Or if not, I might spend the morning in the office looking through the catalogues and books on the artists they work with. At Marcellos I discovered that he has some amazing books, including Mythologies about Helaine's work, and a survey of Dana's work between '82 and the late 90s I think. So, before I go back, I will pick out some of the shots of the ceramic shell process I took a few weeks ago and add them to this post.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Its taken longer than I'd thought, but I'm nearly finished... I've nearly finished my clay piece, probably just this afternoon and I'll have finished sculpting it in clay. I'm hoping the mould maker Lorenzo will come by this afternoon so we can discuss making the mould, then it will need to go to be cast in wax, at which point I think I may have some work to do on the inside of the piece... It is very exciting and a bit of a relief that the end is in sight. On thursday I invited Nigel down to have a look at it - and he commented on whether I wanted to get the changes in rhythm and texture that there were on the model. We talked about how to get the texture of the striations - and he suggested that I could make a tool. On friday I did a lot of experiments, filling notches in my 'hollowing/carving' tool, carving grooves into a piece of wood, and one end of my large wooden tool. At times it was going well, and it enabled me to get the texture of the piece, but at other times I was being a bit frustrated. Yesterday (monday) morning I was a little expectant as I knew that Helaine was back and she hadn't seen the piece since the friday before last, when I'd only done about a day of building up the clay. I was looking forward to her input, I was interested to know whether she thought I should move away more from the model, or keep using it as my point of reference. And I was a little nervous to know what she thought about it She arrived mid-morning with a visitor - Tom Flynn - who she described as an important critic. Straight away my blood pressure went up a few bars, but I tried to keep calm to get the most out of the opportunity of 2 sets of eyes looking at it. The overall judgement was the the form and shape was working very well, but that in places the surface texture was letting the piece down - in particular in the area that I had been working on the most! Tom said some really interesting and useful comments - my model had an amazing amount of tension and energy, which would be good to translate through to the clay piece. I think he really liked the model and they both agreed that I should try to get it cast into bronze as well. Helaine also mentioned that the editing and changes that I'd done relative to the model were working well. We talked a bit about how to get the texture and the uneven striations, and she told me that in the past she had used metal combs to good effect (I had shown her my attempts at tools). When they were leaving Helaine asked if I was still doing the life class drawing and expressed an interest in seeing my drawings. As I had my sketchbook there, I offered to show them both, and as Tom was keen to see them too, I got it out with a bit of trepidation - I was suddenly worried about what failed embarrasing experiments I'd end up showing them. But they both mmm-ed and ah-ed appreicatively. Tom said it was great to see someone drawing and bemoaned the fact that so few art students are drawing. It was also interesting to see how the drawings had evolved over the 6 or so weeks, and their relationship with the work I was doing. In the later ones I've been trying to draw the curves and structures of the figures, I'm sure influenced by finding forms and curves that are striated in my piece. It all went well, and Tom seemed very interesting and easy going, but I still felt like I'd had at least 5 expressos after they left! Yesterday evening I googled him, and found a wonderful catalogue of Almuth's work which he had written the text to, which I read cover to cover. http://www.tomflynn.co.uk/ http://www.tomflynn.co.uk/AlmuthTebbenhoffCatalogue.pdf (Lunch now ready so I will continue this later)  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Very nearly finished...(continued from previous post) I worked well yesterday afternoon and this morning, and in particular on the wing like side of the piece. I ended up sculpting the striations almost individually, as there were such complex curves and forms, that it worked better that way, than using a tool with grooves in it. I realised I'd lost a lot of the form, not just that the texture of the surface hid the form, but that the forms were more complex than what I had. Around 10 today I heard a car horn beep, and opened the gate to Helaine accompanied by Salvatore (her assistant here in Pietrasanta, a lovely Italian sculptor). I think as the sun had come out, and I was pleased to see them I was smiling, but Helaine commented on it and when she saw the piece she went 'ah yes, you've got it...' and could understand why I was smiling.  We had a quick chat about it, and then she mentioned that yesterday Tom was surprised by how much time she was giving me. She said that she wouldn't if she didn't think I'd listen to her and take it in. She also added that she knows I won't always follow her advice exactly. But I am really learning from her, and I realise how lucky I am. Anyway, better run back to Marcello's to put the final touches and talk to the 'formatore' (mould-maker) Lorenzo.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Only 3 weeks to go! Slight panic and a desire to spend 24 hours a day in the foundry have set in, as I realise that I only have 3 more weeks till the end of my residency. However, I think it will be ok, although it is hard to tell how long something will take when you've never done it before. I've been a bit quiet on the blog in the last week and a half as I had a little break for the easter weekend, then had a busy week last week, with a visit from the representative of the foundation funding me, as well as my husband. However, on the work front, I've finished the mould of my clay sculpture and I've spent the last 2 days in the foundry casting it, so here are details of the process and some shots. Casting in Wax: I started casting on friday but having spent some time with Angelo learning how to make modeling wax, I only got as far as cleaning out my mold and preparing it before it was lunch time.  I cleaned it with a small metal tool, and the compressed air. Then to prepare it, I gave it: - a layer of oil on the rubber (with a brush) - a layer of grease on the plaster (only the bits that will come together, not the back) After lunch I started layering up the wax. I took a small saucepan of the black 'painting wax' and heated it further on the gas rink, but without letting it boil. Then I started painting it into the mould. It was actually harder than I thought it would be. It was important to go straight from the pan to the mould with good hot wax, and dabbing quickly a thin layer of wax. I had to reheat the wax every 5 minutes to keep it very runny.When I had a full coat of think, I then went over the whole surface again a bit more thickly to ensure there were no bits where the white of the mold showed through the thin wax. Then a third layer was added of swirls to key the surface well - the trick was to make the wax look a bit cloudy/opaque/purple. I then needed to reinforce the peaks inside the mould. If you don't do this then these bit would end up with thinner wax, and then might not come out in the bronze. To do this, I needed to prepare the 'pastello' - a warm soft brown wax that can be used almost like clay, but becomes very had when cooled. I had already learnt to do this before. I poured a ladle of the molten brown wax into a bowl of cold water, then with a bit of oil on my hands I needed the wax into a ball, quickly taking it out of the bowl, and needing it throughly so that it is all soft and mouldable. Slowly I added spines to all the bits of the mould that created ridges, and small blobs on any little points. The mould was then ready to be closed. They do this with neat little u-shaped bits of metal that you hammer on to the plaster edges to hold it together.  Mauro then lifted the mould using the gantry crane, and rested it on a low support, propping it to ensure the hole in the base was level. I again made some more 'pastello' and made a 5 cm wall round the top, and a spout to make it easier for them to empty it. It was then ready to have the wax poured in, but as I am out of space and its now late, I will continue this in another post tomorrow. Weather On friday when I was doing all the above (up until closing the mould), it was boiling in the casting wax room - it was 26.8°C! On saturday I got my flip-flops out for the first time, and it was lovely sitting in the main square having lunch - it felt like english summer. However, Sunday morning we were woken to the loudest thunder I've ever heard, that went on for about 20 minutes, with a huge downpour and wind. It cleared up later and was even sunny, but I've got back into my thermals as it is really quite chilly again!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Casting in wax continued: So, last night in my blog I had got to the point where the mould had been closed, and Mauro had filled a pan of hot molten wax. He and Carlo then poured the big saucepan of wax into the closed mould, and then the magic of 'how long to leave it' took place.  Some of the techniques of casting are fairly easy to learn, most are possible to learn but take a while and will need practice, but there are other techniques that seem like the dark arts and continue to be a mystery to me. The trick of how long to leave the wax in the mould so you get the right thickness seems just one of these. They know the mould, they know what the weather is like, they know how hot the wax was when it went in, and they do this thing of scooping off the skin from the top of the wax look at the thickness of the walls as it develops. After a few short minutes, its ready, and the wax gets poured out back into the same pan. Then its filled with cold water to be left for an hour or so to cool and harden fully. In the meantime, I cast the 'beak' bit of my piece which had been moulded separately. It was a lot smaller, but I did it all so much faster, as I now knew how, and was proud that I barely had to ask Mauro much advice. It was about an hour later when that was done, so we then opened the main bit of the sculpture - it was like being a small child opening a christmas present... and great to see my piece in the lovely dark black wax.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Pietrasanta's at last getting warmer - and opening up like a flower... And with the warm sunny weather its is filling up, foreign artists are arriving, and the ones that are here all year, seem to have come out of hibernation in their studios. Friday night's drink in the piazza after work, turned into 8 of us going for a nice dinner, and ended up with 4 of us drinking take away limoncellos or cafes (in expresso size polystyrene cups with lids!) on the steps of the duomo, with one of my party playing the piano accordion. I felt like I was in a film... Nearing the end But I only have 2 weeks left, so I feel like I need to make the most of every opportunity and experience. Part of me is also now looking forward to being home, in my own place with my family, and to starting a new creative phase in my own studio.  But I'm also very busy trying to finish my 3rd piece. Today I started in earnest putting the figures into a framework. On Helaines suggestion I had worked on some small maquettes, but in the end decided that the piece isn't that big, and the structure is so dependant on its interaction with the molecular figures that I just had to launch in to the piece and work it out in that. I've been using pastellos of the hard brown wax. I love making the pastello, and I'm getting quite good and quick at it. I dip my hands in a bit of oil, then pour a laddel of molten brown wax into the basin of cold water. I then start needing the wax together first in the water then soon out of it. There is something so sensual and pleasing of needing the warm wax in my hands. I've had a bit of help from Angelo to construct a framework, but mostly I've done it on my own, as the foundry was very busy, with at least 3 artist in either inspecting work, or working on things, and Angelo was running from one to the other with his usual calm - however now that I know him a bit, I could tell that under the calm exterior he was a little hassled by all the different directions he was being pulled in. I'm excited by the piece, and was gutted when I realised it was already 12 and lunch break. Anyway, back at the flat for a quick lunch, then I can continue with the piece. I'm trying to work intuitively but whilst keeping in mind the ideas and feelings I'm hoping to express. My mother and son are just back in now, so I'll stop here.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Yves Dana - and my catalogue reading I know I've mentioned him before, but today in my 'pausa cataloga' (not sure if that is good italian) I read a beautiful book of his sculptures from cover to cover. It felt like falling in love, so exciting and enjoyable, I just wanted to suck it all up... So, at least once a day I try to spend somewhere between 15 and 30 mins looking or reading the catalogues in the foundry office (today I just got sucked in and it was an hour, oops). I started this about a week ago, but should have done it when I arrived as there are so many I don't have a hope of getting through them all before I leave. Its nice as it has the added benefit of getting to know the folks in the office better. The last few days I've been reading Helaine's 'mythology' catalogue which is amazing and really useful. Yesterday I read how she was influenced by a writer to who said it should be possible to create a work in a sitting, to work intensely on her models till they were done, and then do very little changes in the process of translation and enlargement.  This was great and timely advice, as I'm currently working on my third piece, and having tried to work it out in a few small maquettes (I think I was working too small and it didn't really help) I decided to launch into the piece as I am creating a surface related to a group of figures in the geometry of a pyruvate molecule. I initially thought I was maybe missing something by working too fast, and nearly getting it in the first sitting. But following that reading, I've decided to try to get it as fast as possible so I don't go astray or lose it. Reading Dana today was also useful. His response to his materials - he initially worked in iron, then moved to stone, now also works in plaster for casting in bronze - he is inspired and challenged by the hard materials. I was also intersted that he works on his pieces directly without doing maquettes.  Another thing I noticed was how prolific he was at the start of his career when he was doing his iron works - around 14 works a year, which is more than 1 a month. This has given me the resolve that when I return I really need to set myself a similar aim for the next year. I think I need to get lots of works done as you learn so much from each one. And the size I've been working now is fine - 40 - 80cm or so... large enough to challenge but small enough to get done and push to its limit and fully resolve in the timeframe.  So, feeling in a transition phase but in a good way - sucking up the last of what I can from Pietrasanta, whilst beginning to look to the new chapter that will open when I get home. Meanwhile the doom of the ash cloud seems to be chiming with the work I'm developing!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 2 days left! All a bit exhausted and emotional... Took my mother and son to the airport today, and when I got back to the flat this evening it seemed so wrong that they won't be back. I've been terribly selfish a lot of the time and taken total advantage of my mothers nurturing nature, but I've enjoyed our 3 months living our simple lifestyle together. I went to put radio4 on the iplayer and had no-one to ask what to put on. And all the other residents of the apartments say it won't be the same without my 2 1/2-year-olds cheery 'hello' as he run's around the courtyard and garden. Boy, does it take a long time to get something cast in bronze! I finished my enlargement in clay before easter, and we've been rushing it through all the stages, but it very nearly wasn't done in time this week: Wed 31st March - finished the clay Thursd 1st april - Lorenzo formatory, drives my piece to his studio, and does the first coat of rubber Fri 2nd april - second coat rubber Tuesday 6th - Plaster jacket Wed 7th - long story day missed Thursd 8th - opened, cleaned, taken to foundry Friday 9th - cleaned again, prepared and cast in wax Monday 12th - finished casting in wax, opened up hollow and started touching up inside Tues 13 & Wed 14 - me touching up wax and sculpting inside of work Thursday 15 - first thing in morning - we put the beak of the bird back on, and put wax in queue to wait for its sprues to be done. Alfredo did the sprues in the afternoon Friday 16th April - in the morning I touch up the wax post sprues going on (the metal bars that were used to hold it in place had left holes that needed filling) Then it was waiting in the queue for the ceramic shell to be done. Sometime the next week, I think on the tuesday, I started getting worried and talked to Raymondo about whether it will be done so that I can touch up the metal before I go, not for the first time, but I think he then talked to someone, so it jumped the queue Wednesday 21st April - the difficult hollows that are virtually enclosed have ceramic added first, then the wax is touched up again, and the red pins are added which will be where the air and bronze escapes during the pour Thursd 22nd - ceramic shell layers start, and it dries in the cupboard between layers. Sat 24th, I have a chat with Nicola about whether it will be finished in time, we go look at in the cupboard still drying, with more layers on. He says he's not sure if it will be ready to be poured by wednesday or not (eek) Monday 26th - I pop into the 'fusione' room, and my pieces are sitting there, looking like they are done in the ceramic. I ask Enzo when they will be poured: "not sure, maybe friday" was the response I got. *gulp* - why can't they be done sooner, I ask, explaining about the fact that I'm leaving and want to finish and patina them before I leave. And also that I wanted to show it on thursday evening when I have my little "thankyou, leaving party and show of my work" Festa. They were going to wait for other ceramic shells to be ready too, as it will be poured 'hot' and normally they do a whole crucible of small ceramic shells at once. I start feeling very guilty as I realise how out of the ordinary and annyoing it would be if they do mine straight away. But I do mention that Ivan had rushed the ceramic shells through on their own for me...  I find it very hard to understand Enzo. He wears ear plugs so he tends to talk really softly (worried about shouting maybe?) and the radio's on loud, so I wasn't quite sure what he'd said. I saw Nicola as I headed upstairs and explained situation, very gratefully asking if anything could be done. Tuesday 27th - my shell is fired and wax melted out Wed 28th (Today!) - it was poured just before lunch, chipped out and sand blasted by 5pm tomorrow I do the chasing!      ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094   London London London!  And taking stock The shock of returning from the residency is beginning to wear off. It has been so hectic I can't believe a month has already passed since I got back. Initially I found it hard adjusting back to the complexity of my life back home. One particular day when I’d forgotten my oyster card made me want to return to my straight forward life in Pietrasanta. I’ve been thinking about what I’ve learnt from my residency, and a very strong thing is about working method and how to create the climate for me to do great work. In Pietrasanta there is such a strong work ethic. I’m sure this stems from the marble carving tradition and if its going to take 6 months to carve a work, you want to keep putting the hours in. But it really normalises the idea of doing an 8 – 10 hour day, 5 or 6 days a week. I don’t think you are creative for every hour of that, but by putting in those studio hours, you can in some ways take your time to do the work well and push it to its limit. Since being back in London I had a great chat with a musician/composer friend, and he was advocating that you just need to get the work done. He thought anyone could start something, but not many people could finish. I’m not entirely sure I agree with this, as I used to have that fear of the blank page and I often procrastinate before starting a piece. But I can see what he meant, the studios of many artists, and apparently the computers of many composers, are littered with unfinished work. Once you start something, you need to push it through to completion. What was great about my residency was that I was working long hours and under pressure which I often do when I am up against a deadline. But the great thing was that I also had freedom if I wanted to experiment, take a tangent or just wait and look at the work some more. I need to recreate these conditions on an ongoing basis. I often worry that only obsessive compulsive people make great artists, which I don’t think I am. But I do love it when I get a little bit lost in my work. Again the musician  thought that too many composers did this, and that you could keep changing and rechanging a work, and not realise when its finished. I think this is an interesting duality, either loosing steam on a piece for whatever reasons (often other pressures and leaving it too long) or over working a piece till it looses its magic. Hmmm, knowing when to finish is an art in itself. This reminded me of Helaine in her catalogue talking about the theory that you could (or even should) complete a work in a single sitting. In that way, the purity of a single thought or way of looking at your subject matter would come through. Before leaving Pietrasanta I was fairly clear about the sort of work I wanted to be doing for the next 6 – 12 months at least. I decided that I’d learnt so much from each of the 3 pieces I did in Italy, that I wanted to continue working on the same scale, in a limited number of materials and try to complete at least one new piece a month. This was partly inspired by looking at Yves Dana’s catalogue of work, and in the 80s he was doing 13 – 15 works a year. The obvious way to fund this is that I need to start selling the work, and to look for a gallery. In some ways the scale of work and the style would lend itself to this. But since I’ve been back in London, I’ve started to wonder whether I want to start heading down that particular route, and whether it will limit my options in future. I feel like I’m trying to create works that really say something, but I feel uncomfortable with the idea of them being thought of as luxury decorative pieces to complete a wealthy lifestyle. However, the only sales I have done I haven’t felt like this. In fact, it was been an amazing process knowing that (my handful of) clients are so taken by my work that they want to live with the pieces permanently in their homes.  So, dilemmas dilemmas.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094 http://www.a-n.co.uk/artists_talking/projects/single/578094 Invitation to my Residency Show this wednesday in South Ken in London: Opening  Wednesday 28 July 6.30 – 8.30pmArtists’ talks – 7pm  Exhibition continues 29 July – 20 AugustWednesday to Friday (or by appointment)11am – 4.30pm  Royal British Society of Sculptors108 Old Brompton RoadLondon SW7 3RA This is an open invitation to anyone who has been following my blog or would like to come along. I've been busy getting ready for this. The catalogue in particular has been a little bit painful and lots of hard work, but hopefully it will be worth it. Tomorrow I go in to help install the pieces. I have made 2 new plinths especially for the 2 enzyme related pieces as I wand to attach the sculptures straight to the plinths and get rid of their bases. So I'm excited to see how they look. I also haven't really seen the 3rd piece finished except in photos as I didn't quite finish the patina stage when I returned to Italy. It is all still a little nerve racking, and hopefully I'll be happy after tomorrow. I guess I also need to finish and wrap up this blog at some stage, which would be sad. Maybe I can do another post show posting, so this doesn't have to be the last one... Talk soon, and maybe see you on Wednesday.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/578094