Casting a Figure

Currently I have four ENCULTURATED WHITE MAN: If the Indians Had Won frames under construction. One of them is a bear theme with bears guarding both sides, front and back, of the free standing frame. The completed frame will be pictured at some future date. For now this post relays the process I used for molding and casting four pieces from an original clay bear sculpture (7″ H).

There are to be 16 frames in the If the Indians Had Won body of work. I’m working on frames 11-14; the bear theme being one of these. When I constructed frame #1 my intention was not to make them too overwrought. The pieces of work that hang in each frame had already taken many years to complete. I didn’t want to spend another several years on the frames. That plan, however, ended up under a large pile of scrap, plaster and paint. The frames needed to take as long as the frames needed to take. The “frugal” first frame looks rushed and unfinished compared to the evolution of more decorative and complex frames that followed. One of the four (11-14) in progress I mentioned is a redo of that first frame. Thus, my decision to add a time-consuming decorative element; cast bear guardians for frame #12.

Following is the process from sculpture to casting.

Original sculpture of 7″ bear in wax

The wax sculpture was divided up into four sections. Each section was then covered with thin layers of silicone over a period of days.

The front side of bear divided into sections and covered with layers of silicone.

The bear sections have been layered with at least a 1/4″ thickness of silicone. The sections are now covered with plaster over the silicone. While the silicone remains flexible for easy removal once it is dry, the plaster shell retains the shape for casting.

Once the plaster is dry, the silicone and plaster sections are removed from the original clay sculpture

The flexible silicone and plaster pieces have been cleaned and cleared of debris. Wood putty is mixed in a flexible rubber bowl and poured in a honey consistency into the mold.

The wood putty castings are left overnight to harden. The pieces are glued and putt-ied together and ready for sanding. Wood putty in a tube is used to fill the inevitable imperfections.

 

You can read about the body of work THE ENCULTURATED WHITE MAN: If the Indians Had Won on my website http://www.tamaraburgh.com/If_the_Indians_Had_Won.html

copyright Tamara Ann Burgh, 2013, all rights reserved

Frame #1 Redo

Last time I posted pictures of the latest three frames in progress for THE ENCULTURATED WHITE MAN: If the Indians Had Won. They are frames 12, 13 and 14 (of the 16 total frames). A fourth frame is roughed in and is a redo of my very first frame — first frame ever as I had not done woodworking before nor used the power tools I’ve accumulated over the last few years. My power tools have grown from the original chop saw and drill in the making of the first frame to a table saw, router, drill press, band saw and various other tools and equipment.

I was so proud of the first frame, but knew in the back of my mind that in the process of constructing 15 more frames, I would probably see the first one as exactly that: an amateur first attempt. It was also made with limited tools so my decision making and choices were limited. So the inevitable happened. A decision was undoubtedly made. No excuses. I had to remake the first one.

The original frame wrapped in plastic atop a shelf.

Frames evolved into more “confident” appearance. There is also more interior space for the pieces. The original frame and hanging art look crowded to me now.

The “first frame redo” has more interior space for the hanging piece of art. Pictured below is the fame’s initial shell.

The initial base construction for the frame #1 redo

The piece to be hung in this frame is a Northwest Coast inspired piece. Therefore, in keeping with the more elaborate frame decoration the frames have evolved into I chose to carve separate panels to attach to the flat sides of the frame’s shell pictured above. The carving process and roughly carved pieces are shown below.

Tissue drawing to scale for the two roof carvings

One side carved to attach to the roof. Shells will be inserted.

All sides (to be attached to frame base) with roughed in carving.

I enjoy the carving process. I used NW Coast carved boxes for references and thought it would be “simple” to imitate. Not so. They are much more complex than on first viewing. It crossed my mind to nix the carving as mine would be seen as amateurish: the problem I initially am fixing re the first frame . . . and then I attempt to fix it by doing something I’ve not done before, carving. Doesn’t make sense right now, but I do have a sculpture background (add-on, not take-away). There is no turning back now and I will not, I will not, I will not, do it over AGAIN.

copyright Tamara Ann Burgh 2013, all rights reserved

It’s Getting Crowded In Here

Winter = a crowded studio. My woodworking tools and the bulk of my equipment is outdoors much of the year, but with the cold, I’ve had to haul it all inside — and it has gotten pretty crowded in my one room studio. I spent the fall months roughing in four frames/shrines of the remaining six (16 total) for the body of work titled THE ENCULTURATED WHITE MAN: If the Indians Had Won.

“Roughing in” requires the use of chop saw, jig saw, router, table saw, drill press, power sander and jig saw. These tools require space and make a lot of noise. The plan was to get as many frames basically constructed so I can spend the cold winter months sanding, refining, molding and painting. The molds I’m working on for frame details will be the subject of my next post. In the meantime, I’ve quite a lot of sanding to do while squeezed between equipment, wood and 1/2 finished frames/shrines.

Band Saw, Router, roughed in frame #14 tucked up against the table saw.

Frame #13 with molded pieces ready to be sanded and placed

Work bench with Drill Press and Chop Saw tucked under bench. Not so convenient.

Half finished frames/shrines #1 (redo) and #13

A crowded studios while temps outside are too cold to work in. Numb fingers from frigid temps don’t work well enough to run power tools.

copyright 2013 Tamara Ann Burgh, all rights reserved

Beginning Frame #10

So I’ve begun frame #10 for the ENCULTURATED WHITE MAN: If the Indians Had Won body of work. There have been lots of interruption but I’ve welcomed them as this frame has not been going so very smoothly. What I show here is probably the sixth version.

Piece of art I’m framing is 18″X14″. All the work began with a found B&W early 20th century photo (probably purchased for 25 cents at a garage sale). I altered the photos with color pencil. The matting includes needlework in DMC embroidery thread which I’ve over-dyed in vegetal dye baths — using mostly mullein plant material. I’ve also used beading and porcupine quills. I produced the quill colors using vegetal dyes: Navajo tea for the yellow and Brazilwood for the pink. I embroidered the female portrait using single thread silk on silk material.

I begin the frame with a cardboard cut to the size of the piece of art with 1 1/2 inches added all around. This is the opening for my frame. I begin with the bottom piece and add the sides using 1/2″ poplar square dowels with channels cut on two sides using my router. The channels hold the poplar sides and the glass.

This is Frame #10. Frames one through nine have begun with a full image in my mind and I begin and finish construction according to that image. I don’t have a full mechanical drawing. I barely have a sketch. This “mind image” process has worked just fine — until now. All the frames to this point have been straight edged but I wanted a curved roof for this one. The curve of the roof necessarily had to begin with a mechanical drawing.

My crude mechanical drawing drawn to size. I free-handed the curve, broke it down into sections then used a protractor to determine the angles.

To make the slats, I ripped a 2X4 into slats then cut the long edges of the slats according to my drawing.

The curve of these slats is a photo distortion.

Simple, I thought. Just follow the drawing and slap the carefully measured and angled slats together. Not so easy. Below is the result of some half a dozen efforts. I need to buy more wood putty!

The foot design is yet to be determined. Should I repeat the curve of the roof at the foot? I think I have to. Hopefully, it won't take as many do-overs as the roof!

Next is the construction on the top and lid

Each frame has decorative elements added. I’ve used shell, stone, mineral, cast wood elements and foil. For this frame, I’ve chosen to add a self-portrait cameo. I sculpted the piece in a plastiscene clay then made a mold using clear silicone (left). The cameo (right) was cast using water putty. My mold had some flaws so I have to do some major cleaning up of the cast piece.

Planned placement of the cameo -- one on each side.

My woodshop is the back porch — I haul all my tools and equipment outside. Each frame takes about a month. Cold weather is coming so if I want to finish this frame, I best get on with it.

copyright Tamara Ann Burgh, all rights reserved

Enculturated White Man — Frame #9 Complete

Struggling through 95+ degree temps and high humidity, I was able to finish frame number nine for the body of work THE ENCULUTURATED WHITE MAN: If the Indians Had Won. Following are photos of the finished piece of work.

The inspiration for this frame began with my mother’s  broken lamp shade made from translucent shell pieces. Mother loved that lamp shade and was heartbroken when it was damaged several years ago. Fortunately, she gifted the shade to me in order to resurrect it for this project. The duck skull was found by me one afternoon while walking my dogs. It laid not far off the side of the forest lined road where I walk my dogs. My dog, Jeannie, was actually after something probably not very good for her — I ran into the woods to get her, challenging snakes, ticks and chiggers, to retrieve her (Jeannie) and stumbled upon this skull while making my way, with Jeannie in tow, to the road. The skull was found some 1/4 mile from the nearest body of water. I figure a Cooper’s Hawk snatched it from the lake and devoured it in the woods.

Polychrome wood with shell, mother of pearl and duck skull

Polychrome wood with shell, mother of pearl and duck skull

Polychrome wood with shell, mother of pearl and duck skull

Polychrome wood with shell, mother of pearl and duck skull

Polychrome wood with shell, mother of pearl and duck skull

copyright Tamara Ann Burgh, all rights reserved

Frame #9 Construction

Finishing up frame number nine for the body of work titled THE ENCULTURATED WHITE MAN: If the Indians Had Won. Following are some pictures showing some of the construction.

The original piece of art is measured with 1.5" added to all sides to determine the frame opening.

With each frame, I'm learning something new. The cornices were made by ripping a 4 X 4 piece of scrap lumber and then routed three separate times.

The decorative pieces -- 22 were cut with a band saw and coping saw

I added a mother of pearl "bead" into each cut-out

After the mother of pearl "beads" were added, the decorative piece was flipped to the back side and the beads were locked in place with a dollop of wood putty.

The decorative top is added. The inspiration for this frame came from a broken lamp shade made with translucent shells.

All images and text copyright Tamara Ann Burgh, all rights reserved

Outdoor Woodshop

I am building frame number seven on the back porch in 90+ degree temps with heat index ranging in the low 100′s. Normally I can’t tolerate heat above 75 degrees but when I’m in creative mode, I don’t feel the discomfort or the sweat running down my forehead.

I thought I would post pictures of my “shop” concentrating mostly on the amount of saw dust to contend with. If I were to ever have an indoor shop I suppose I’d have to invest in a shop vacuum. With my “porch wood shop” I haul out the leaf blower and blow it into the garden below. Sawdust helps the soil, right?

My back porch wood shop. Most of my tools are SKIL brand. They are affordable and are sufficient for a beginner like me who does relatively small projects.

My SKIL brand band saw with the door open. Lots of saw dust to be removed with the leaf blower. Safety glasses required to avoid an eye full.

The chop saw atop the table I made using scrap lumber, plywood and old porch posts. I built the table 42" high in order to have the work more to eye level -- saves on the back.

My SKIL brand router. The SKIL brand table saw sits to the right. The router and table saw still intimidate me, but I guess that's a good thing.

The saw dust is blown into the garden below.

The lake to my back is hardly noticed by me when working on a wood frame. I hear people passing in their pontoon boats -- enjoying the water while fishing or swimming. I, however, would rather be play-working in my outdoor wood shop.

Porch wood shop cleaned of dust and tucked In for the night.

Copyright Tamara Ann Burgh, all rights reserved