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Inspiration And Process Each sculpture is inspired by posture, gesture and circumstance. It is important to me that the messages, metaphor and artistic intention not become lost in a metallic outer shell. When
I started sculpting, over a decade ago, I found the most available medium
for me was Papier-mâché. Not ready to invest in clay and bronze
casting, I used a basic recipe for paper clay to create with. Being employed, at that time by Merrill Lynch in New Jersey,
Wall Street Journals were at my ready hand, in quantity. This paper
was perfect for my intentions. The rich black inks, pages of unique fonts
and vast pages of just white, or just black were now my palette.
After achieving the desired posture with a wire armature, the paper
clay, which I made using the newspaper was then applied, the face, hands,
body were sculpted and dried. Strips and sheets of selected newspaper
pages were then used to create message and movement.
This was the basic process for my earlier pieces. After winning a
couple of prestigious prizes for these sculptures, I was given an award opportunity
to have a piece cast in bronze. Wanting
to insure a long life for my art, I gave it a try. The result was very
disappointing. When the newsprint and fragile appearance of the sculpture
was taken away, the effect to me was flat and nothing like I had intended.
While the figures themselves were still rendered well, the work no longer had the look and unique appeal it once had,
which made it stand out from other sculpture as work with voice and movement.
I went back to using newspaper, though this time to make sur Working
with direction from some notable sculptors and foundry professionals, I
came up with a formula, for the clay and Papier-mâché process, which is now
patent pending. The core and body of the sculptures are built up and carved out
in plaster. Once the plaster
is set the paper clay (my patent pending process and product) is used to
sculpt the face, hands and any substantial details, which will be visible after the
newspaper is applied. The newspaper, now used as a patina, is applied in
many layers, each drying completely before applying the next to avoid
bubbles or shrinkage. Each page of the newspaper is carefully selected for
color and content, to create the perfect image for its intended metaphor.
The sculpture is then coated with many layers of durable firming agents to create a hard ceramic like finish, while
keeping the original look of fragile newspaper. The final work of art is
coated over days with hardening sealers and then a dulling finish is
applied to take away any shine, leaving the piece looking as though the
newspaper was spontaneously crumpled into a figure. The arts message, and
its intended appearance are preserved, while being solid as ceramic,
giving it an infinite lifespan.
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Contact the artist at: The Papier Sun Fine Art Studio Philadelphia, Pa
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