Next stage in the “touched” theme involves casting. Will become more obvious later. The subjects I chose revolved around a loose theme of “masculinity” although they could relate to everyone.
My lack of experience shows. I made terra cotta models, wrapped in clay, but had to sit them in sand to hold up after I took the model out. Hoping to use the clay molds more than once. The details in the key needed a plaster mold. Back to the books so we’ll see what turns out.
I took a carafe blown by Philp Stokes with an engraved inscription, to display at Segue Stratford. I remember the other carafes and goblets that have had a personal connection to people. I love using them, with a smile, for the personal touch or connection myself. I found 5 goblets in an opp. shop that seemed to beg for inscriptions, and they also had a weighty balance, instinctive smooth know, and a size of dignified importance. Anyone who sees them wants to hold them, in an exploratory conversational way. To be touched in all ways. They have Leonard Cohen quotes.
BEING TOUCHED is all about connection. A physical connection, or an emotional connection that has an emotional reaction. There has to be a sharing of values, history, narrative. A certain amount of physical touching reinforces that emotional connection. Reassuring what you visually see as real. (not virtual reality) Reassuring connections as an animal may howl, sniff or touch.
Fun again on the stone. Trouble getting it on with the glass lathe, trying to translate a two dimensional image using mass instead of line. Moved to an easier three dimensional object, also to help simplify or abstract the figure.
Siltstone from Mt Speed, Trafalgar. Easy to cut with an angle grinder, and diamond cups. Available Bunnings. Ready for filing and sanding. Called it “Intransigence”
Experiments using float glass. Quite a distraction I didn’t need to have. I occasionally get the urge to try something that may fit in easier locally. That means cheap enough for a market, and with some romantic Joseph Beuys type of story. Wrong on both counts. Market buyers buy from friends not for the piece, and the story depends on creating a coterie of friends. I’m not that type of person, and the necessary networking doesn’t suit my personality. Maybe I’m on the fashionable autism spectrum.
Testing temperatures. Too low at fusing, too fast for slumping.
Second. Clear side up at fuse, tin side up at slump created that aweful scum look. Getting the low frequency UV light maybe a major hassle. Do I really want to stuff around with this.
Playing with metallic garden sprays etc to stain after sandblasting. Found a supplier of metal treatments available that may work. Seems like I’m trying to reinvent the wheel.
This is what I’ve done for my front yard decorations this year. The appalling state of life for children in particular is beyond comprehension, and far too complex to understand. Apart from baying at the moon there seems so little an individual can do, but acceptance is not really an option. Our governments can bomb who ever while their constituents are compliant. Artists have a responsibility as reporters of the human condition.
I have photographed the steps taken to sandblast the glass pieces. 1.06 x .60 m. Wooden pine frames were stained with artists oil paint and gum turps. It is screwed to star posts driven into the ground. Glass dove is cut with a wet air polisher and diamond pads.
That nutter on the corner is at it again, as the neighbours say. I made an angel out of fruit tree prunings, last year it was a Halloween witch. Thinking about people who need angels I used scrap glass to practice my lathe work. A long way to go so don’t look too hard. Just experimenting on the style of figure work I want to aim for, so I let loose. Getting ideas of what I want to do even if I can’t do it yet.
The 4 pieces are about 30 cm square, figures lathe carved and the symbols sandblasted.
I won’t label them, because there can be different interpretations.
What a laugh. It looks a bit like a picture in the engravers bible. Persistence. I’m not spending as much time as I should, but getting right into it. Feeling nearly comfortable with some wheels and have to work very hard to smarten up the edges. The flat strap wheel gives me hell. I’m adopting the idea that if I put in enough time, it will just miraculously come under control. The working method differs so much from drills that I’m taking a while to adapt. Many times I had to resist temptation to just move along a bench and tidy it up with a drill.
It’s a long time since I worked in clear, and working all sides has it’s challenges.
Tried a copy of a T.H.Benton drawing that I like. A long way to go but I’m starting to get an idea of the type of figure work I want to do, eventually.
Thanks to Jim Riser I’ve had a try at setting up stone wheels. I think these were from a blade sharpener. Not to be taken too seriously at this stage.