From the Studio

thoughts on art and process in action from a contemporary artist

Posts Tagged ‘sculpture

Dyeing wrap up

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Just some images of my yarn as I dye it and arrange it to see how my color balance for iteration #10 of Identity Tapestry for the Identity show at Vögele Cultural Center is going.

I’m nearly there!  I just need some more blues in the medium darkness range of all hues.  Here you can see on the white plastic sheeting some of the yarn I am dyeing over to create all the richness and depth of color in the yarn for the piece.

I am contemplating using a different size of plaque for the statements because of the nature of German (more text needs more space).  This would bring the format closer to “hello my name is” labels, which I like, but I need to be sure I can find the right sized stickers for the look I want.  I could physically do the text without stickers, but the label/name tag/address reference label stickers give is important to me for this piece.  I may end up ordering metric ones.

Coldworking Day One

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So far so good.  I’ve used a dremel on silver and brass before, but never glass.  Working around the constant flow of water is a new experience.  I can understand why people don’t tend to do detail work in this medium.  Seeing detail in a clear substance while water is running over it is a little tricky.

More casting flaws are visible now that I’m working the glass, but I think they are still ones I can work around.  I’ll know better once I do a light sandblast.

In the meantime the fabric mold for the body is ready for the foam pour on Thursday.

Written by Mary Corey March

April 28, 2010 at 5:16 am

Kiln survival

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unmolding the glass head

I’ve just un-molded the head and thankfully things went more or less alright in the kiln.  The defects that happened are in places where they don’t matter (under the hair line).  No fractures, no breaks.  There are a few discolorations inside the face, possibly from stray material in the broken glass I used.  In future I’ll know not to use glass someone else has broken- unknowns are too likely.

A trace of carbon, probably from some wax trapped in a small corner caused some discoloration on the tip of the mask’s bird-tail (seen in the photo).

Still-= the parts that matter are clear.  I was expecting and even hoping for a little distortion in the image, so bubbles are fine.  I was actually planning to warp the images I projected.  I’m waiting to see how much the glass warps the image before I start though.

She came out well.

One thought I’m having is that even if I sandblast the areas besides the mask and eyes it may still be too transparent and too clear rather than white.  I might get a better effect if I used a thin layer of oil with wax medium worked into the skin.  Have to see how well (or if) it will hold though.  I imagine that once it’s sandblasted the surface will take wax nicely.  It would give it a little more opacity without going opaque and a more skin-like texture.

Written by Mary Corey March

April 23, 2010 at 9:28 pm

mask on, and now to the kiln…

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The project is coming along.  I used the shape of Simone’s mask almost exactly.

I added a little bit of detail on the top edge and over the eyes in the style of a Venetian mask to help distinguish it from some sort of super-hero mask (which I think the context, clothes and hair will do the rest of the way).  For some reason with the mask on she reminds me of Athena, who has no mask (but perhaps it is similar to the helmet she is often shown with).

The wax sculpture is now invested in the plaster and needs to be melted out and the plaster given time to cure before I can get the glass in and load it into the kiln.  The red parts in the picture are “sprews”- added bits that get removed in the cold-working process that help prevent bubbles forming in the glass.

I haven’t done anything with glass before, but firing a glass kiln is much like firing a ceramics kiln (which I have done lots of).  The most atheistic people will start praying to the kiln gods during this process- only half in jest.  When you put something into the kiln you just have to let it go and hope that everything works out as it should.  You can control many parts of the process, but ultimately you never know what can happen in there.  So… I will put it into the kiln next Wednesday and say my little prayers to the kiln gods… and hope that everything that I put into the sculpture comes out in the glass… and doesn’t pour all over the kiln, crack the mold, or do one of many other things that can happen in the kiln.

Then the long process of cold-working (removing sprews, detailing, adding texture, etc.).

In the meantime I’m figuring out how to do the hands, and I’ll have to see if I can find some mannequin arms that work.  If not, I’ll be building those as well.  The sewing continues and I plan to do the bustle next.

The structure of bustles is fascinating stuff.  I’m thinking of all kinds of things I can do for making a piece of clothing that shows the bustle structure itself… just for fun, when this project is done.

Written by Mary Corey March

April 2, 2010 at 3:27 am

Face sculpted

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Well, aside from the inevitable thousand tiny touch-ups, the face is done.  I’m going to make a mold of her before I start trying out the mask options or put her in the kiln.  I could easily destroy her with a mask that I decide doesn’t work, and accidents happen in the kiln.

It’s nice to sculpt again.  I just realized it’s been at least 8 years!  I’ve been doing more painting, drawing and other mediums for installation.

I think sometimes one gets better at things in the time between the actual doing of it.  My eye has gotten better and I haven’t forgotten how to use my hands.

On another note I loved working at the Crucible.  It’s a wonderful space, and so nice to know I have access to all sorts of great equipment for working with metal, glass, wood, and clay.  In other good news, Techshop is opening a branch in SF, so I won’t have far to drive to have access to laser cutters, milling machines, 3D printers and other more high-tech tools when I need them.

Written by Mary Corey March

March 16, 2010 at 3:18 am

Technical Torso

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In making the figure for the current sculpture I foolishly thought I could take a mannequin or dress form and make some adjustments.  No such luck.


dress forms aren’t sturdy enough if they are hollow and the arms aren’t developed enough if they have them, and not right materials to attach arms.

modern mannequins not only have entirely the wrong poses (shoulders thrown back), dimensions, shape (corsets shape the bust differently) but they are apparently built to withstand artillery assault and therefore are too difficult to modify to be worth it.

So… I pondered various solutions.  The best seems to be getting the form in foam, then surfacing it with fiberglass or carbon-fiber and epoxy, then hollowing the foam out to make a ventilated space for the projector.  This will make it extremely light (and therefore shippable), sturdy and hollow.

At first I thought I’d carve the foam form… but working with casting and fabric gave me what I hope is a better idea.  I’m going to sew a slightly smaller version of the top the figure will be wearing in latex (at least the torso part of it).  Then spray the seams with latex to seal them, put mold release on the whole thing, turn it inside-out, seal the arm-holes and neck-hole and fill it with expanding foam.   This should create the exact form I need, and the expansion effect should keep the fabric from collapsing.  I may have to hang the whole thing from the ceiling while it sets, but I think it will work.  I can also add on more expanding foam if I need to at any point and carve into the existing foam for alterations.  Once it has got the carbon fiber on I should be able to attach anything to it. I only need the torso to the hip to achieve the form, and the rest can be a simple stand.

Ideally I want to make at least the arms and stand all detachable.  I’m thinking that plumbing parts will serve me best there- all the pieces are threaded and it’s all very sturdy.  There is a mannequin warehouse nearby where I will look for arms.  Sadly I already have the suspicion that they won’t be in the correct poses.   I may end up using some combination of mannequin arms and hands which I cast and finish myself.  Hands are so expressive that the pose needs proper attention.

I am delighted by the diversity of even the materials shopping.  The art store of course, but the hardware store, the plastics store, the fabric stores, the wig shops, costumers (for the gloves if I don’t end up making those too), Radioshack…. it’s exciting.

Once again I feel that I am finally seeing the fruit of all my diverse use of mediums and all the odd hobbies and interests.   When a project like this one comes together it is very visible.

Written by Mary Corey March

March 8, 2010 at 12:05 am