Goliath's Sword

The belt becomes a brace.

Let us continue with “Foxy David”. I have finished his legs, his feet, his robe which is larger and has more drapery than the last Foxy David. There is one more thing I need to work on before I can let him dry. Golioth’s sword needs support.

There have been many ideas about the character of Goliath but it is true that everything about him was large and intimidating. He was nine feet three inches tall. He was a warrior and had already won many single man to man “champion” type battles for his nation. Therefore he carried trophies of his past victories. These trophies would include armour from his various fallen foreign enemies. Therefore the sword he carried is thought to have been the sickle type shown here which he got from the Canaanites and was later, because of it’s effectiveness, adopted by the Egyptian army.

In this sculpture I have his “power sword” (the traditional straight sword) in his left hand. Now, the sword is large being Goliath's, so it needs some bracing. I could probably let it go with just the bottom of it against his foot and the tombstone on which he is sitting but that is risky. One little bump on the arm or sword and it could snap off very easily. I need to brace it up somewhere, somehow to help hold it sturdy and look reasonably natural.

I have decided to use the “belt” that would be part of the scabbard to lie in such a way that it is also bracing the whole piece, giving it stability.

The picture at the top shows  you what I have in mind. It is quite delicate work, rolling a strip of thin clay and keeping it in one piece as you place it where you want it. Then, re-enforcing it in the crucial spots to re-enforce the ultimate purpose and that is to be a true brace to solidify the way the sword is set.

OK, now I have draped the extended parts of the piece with damp cloth/paper towels so the drying will be even. Then I’ve covered him with plastic and we will leave him for a while. When he’s leather hard I will again do some details.

I wish to have him ready for the Altona show and need to deliver him on May 25. I hope that will work. I think I’ll have to ask for an extension...

“For the word of God is alive and active. Sharper than any double-edged sword...”

Hebrews 4:12

Goliath’s Sword

Foot Carving.

Sitting at David’s Feet...

Let’s continue with the life of “Foxy David”!

The time has come for him to stand on his own good feet! When I first make his legs and feet (as you can see in the picture above) they are large, over sized, looking like he should be going to his doctor to get something for his bloated legs and feet. Never-the-less I do try to place them in the right positions, so that the only thing left is to begin detailing them. We will do the doctor’s work by carving them down to look like a healthy, yet resting worrier kings kind of feet. OK, just normal male feet with comfortable sandals on.

Then, as you can see, I’ve already placed the soles of the sandals onto his feet. I rolled a thin roll of clay, brushed the bottom edges of his foot with slurry and attached the roll all around. Then I folded the clay against the food all around for a good connection. Yes, it is rough and crude but this will become the edges of the soles of the sandals. This is the base now upon which we detail the rest of the foot.

Because the foot is over sized it will now be carved back to fit the size of the overall figure. Usually I use the head size of the figure as my reference point for the proportions of the whole figure, but, in this case we have a fox head, also over sized for affect so this will not work in this case. His feet would be too large for his overall figure. So, now we need to be a little creative and measure from our own bodies. I’ve already made his arms to the correct proportions of his body so let’s use that. So I take my ruler, measure my own foot and compare that to the upper arm of my body. Beginning at the bent elbow lay the ruler along the upper arm towards the shoulder and see how your foot compares. Then we go to the figure already made, make a measurement of the same percentage of the your foot size on the upper arm and you have the size his feet should be.

The tools I used for this project.

So I cut back the front of his foot, keeping the sole of the sandal intact. I would trim the sole all around after the whole foot was completed. Once the size is confirmed the whole foot and leg must be carved down to match the new smaller size chosen for the foot.

Then, when I finished with the foot, I cut back the edge of the sole to fit. (Size 9.5 W, of course!)

Now we wait for further drying...

You can see that the finished product will need more detailing later for now the clay is to wet for that purpose. When the clay becomes leather hard I will again go over the feet to continue fine tuning the toes, making the leather straps thinner and finer etc.

Centipede to his doctor, “Doc. when my feet hurt, I hurt all over.”

“Look out for the path that your feet must take, and your ways will be secure.”

Prov. 4:26

Brain Surgery

Ouch, that hurts!

Yesterday was “open house” at Clifton Studios. That means the artists were there to welcome the public and had their creations for sale.

It was a delightful day of meeting new people and old friends who all had an interest in seeing artists in their studios and entering into conversations, not only about purchasing something but also about the creation and technical aspects of their creative processes and work. Always just what any ceramic artist loves to do!  

I was there, in my apron, working in my studio, doing guess what, your right my title gave it away, “brain surgery”! You see, I don’t create “functional” ceramic items. No cups, bowels or vases. No I create strange creatures with fox heads and the like. Customers come to buy things for Mother’s Day and scones for on their walls, dinner ware or special serving dishes etc.

So, I move around and visit with all the artists who are for once all here at the same time. So, time to catch up and visit. Secondly, because I’m not selling I can “work” at something in my studio.

Ready to be closed up again.

Despite all that, visitors did come by, seeing me working in my “smudged up with clay” apron, and my work in progress brought them in. We had amazing conversations that come out of my “dysfunctional pieces”. Ha...play on words! The subjects of conversation ranged from the ridiculously hilarious to the deep and the sublime. It so happened that I was working on my “Foxy David #2, cutting open the top of his head and removing the insides to make it hollow. So this alone was an amazing subject of conversation. “Brain surgery and lobotomies”were mentioned. It was very stimulating and fun.

I saw personal friends, I met several people who’d seen my show in the Mennonite Heritage Center and many strangers who are now new friends.

Guess what, I sold one of my farm boys, wow. It was a wonderful, and inspirational day.

“Do not be conformed to this world, but be transformed by the renewal of your mind...”

Romans 12:2

Art Show #2 in Altona This Summer!!!

I am a little excited.

It gives me great pleasure to announce my second art show. Let me give you the details here so you know where to get them when needed.

The “Altona Gallery in the Park” features their art shows in a large turn of the century home, renovated beautifully into an art gallery. It is set in an outdoor sculpture garden with a fountain, a stream and sculptures all around. It is a beautiful place for a walk of contemplation outdoors midst a variety of art. It is very inspiring.

They are open in the summer only with two shows, a spring and a fall show. I will be in the spring show. Also, I will not be the only artist showing, but I do not know at this time who they are and what will be on display along with my art. But, you might also be interested to know that I will have several new pieces in the show. 

Dates of Show: From June 2 to the end of July, 2012.

Opening will be June 2, doors opening at noon.

General Hours: Open Tue – Sun from 12:00pm – 8:00pm during Spring and Fall Season of 2012. Open July 1 Canada Day, Aug. 6 Civic Holiday and Sept. 3 Labour Day.

Check out their website at: www.altonagalleryinthepark

If you wish to make plans and have questions, here are the numbers:

Year round: (204) 324-9005 and at the Gallery (seasonal) (204)324-9610

How to get there: Altona is a one hour drive from Winnipeg. A normal easy route is to go south on Pembina Hwy. (# 75) Turn right (West) on Hwy. # 14 and South on # 30. Once you are there turn West on 10^th Ave. NW to the Gallery. (Simply follow the signs to the gallery.)

I would like to invite all my readers to come out and see this amazing and classy art gallery. It is a great opportunity to go for a drive and make it special. A drive in the country including enjoying little art in the process is a good thing. The town is delightful and has some neat restaurants and you could check dates of other summer events, you might also include in your outing. I’m sure you will love it.

Here is a note about the creator and his creative work you would see on the way to the gallery...

“The meadows are covered with flocks and the valleys are mantled with grain, they shout for joy and sing.”

Psalm 65:13

The Fur you see is the Fur you Get!

Working at his fur...

Yesterday I worked on and finished the tombstone for the sculpture “Foxy David #2”. It is now drying as we speak. Meanwhile, as you can see in the photo I have begun on the David figure which will ultimately sit on the tombstone.

Since the tombstone is not dry enough, I’ve fashioned at “stand in” stone made out of styrofoam.

His torso was a slab rolled out on the slab-roller. This was then cut into a rectangle and made into a tube. This has been pushed and carved into a hollow male torso. At this point details are not necessary as he will be clothed and so the accurate body shape will help shape the folds of his clothing.

The fox head is a solid piece of clay shaped separately and then attached to the neck. Because the fox head is unbalanced due to the long snout of the fax I’ve had to prepare a custom brace which will be placed under his chin until he is leather hard at least. At that time I will cut the head in half and carve out the inner clay. Then the two shells will be reconnected and his head will then not only be lighter but will also be hollow. This is also done to prevent the head exploding in the kiln. Anything over half an inch thick is at a high risk of exploding. This is due to the fact that moisture is still stuck in the clay and when the clay and the air pockets or water pockets are heated the moisture will expand. If it cannot find it’s way out it will continue to expand and then cause an explosion that will probably ruin the sculpture. Also, if other items are in the Kiln they will also be damaged by the force of flying clay when you have an explosion.

It can be very disappointing, when you have worked many hours on a piece and it is damaged by an explosion or explodes itself. Fortunately, so far I’ve had no explosions.

One thing is I was not confident in rendering fur on the fox head. So, I goggled to see what I could find, but did not find much. Most artists of any note showed how they did fur from a distance. No close-ups. Also, he had a special tool to do this but would not show it close up on the U Tube video. So, in the end I found nothing really new or noteworthy that would help me. So, I’m on my own.

The fur you see is the fur you get.

“And even the very hairs of your head are all numbered.”

Matthew 10: 30

Creating Foxy David #2

The Tombstone of “Foxy David” #1

I sold “Foxy David #1”!

Now, I’m in a situation, I need a “Foxy David” in my body of work. I need him for several reasons, mostly for the story around how I came to create him in the first place. But I’d like to leave that right now and go on to the fact that I must make a second one so I have him for when I have the privilege of showing my work again.

The first thing we need to make is the tomb-stone upon which he is sitting. In actuality David was on the roof of his beautiful home, build by a friendly neighbouring king so as to escape being attacked by David’s army. Smart king that was. It was a great deal for both of them. King David got a beautiful home made out of the “Ceders of Lebanon” and the neighbour saved his kingdom. In reality, of course we know he was not actually sitting on a tombstone. It is symbolic of the resulting tragic deaths resulting from his actions beginning with what he saw from the roof of his house that day.

It is important that the tombstone is the first item we make for this piece as it needs to become dry enough to bear the weight of the second piece, namely the figure of David sitting on it so that we might then finish the details of the piece.

The first thing we do is prepare the clay to go through the slab roller. This is a handy device where one can adjust the thickness of the clay slab desired, place the clay in the fold of a canvas sheet and put it through between the rollers. And bingo you have a smooth uniform slab, exactly the width you need. (This thing reminds me of the old wringer-dryers of my youth.) Now you simply cut out the pieces you need for the sculpture. As you see in the photos, I placed a piece of “saran-wrap” on the board and put the tombstone together on that. This way the clay will not stick to the wooden board and so when it dries it can freely shrink without cracking. It also facilitates easily moving it around if necessary. (The amazing things you learn with a little experience!)

The last photo shows the tombstone finished, and the tools I used in the process. What gets a little tricky is the fact that it is not square. You can see that the top is narrower than the base and so the two end pieces must be cut accordingly. Then, you can also see that the centre of the sides are higher, meaning the top piece will not be a straight rectangle as the centre section will be narrower due to this rise of the sides in the centre. (What a sentence!) So, to make it simple I laid a larger slab over the top of the whole piece and traced the edge lines from underneath. That way it fit perfectly without any fussy measuring necessary.

I have now set it aside to dry. Meanwhile, we will begin on the foxy guy who will sit on this tomb-stone.

"The King asked, “What is that tombstone I see?””

2 Kings 23:17

An intimate Perspective on Norman Rockwell

    A Painting by Norman Rockwell

Friday evening, Wilma and I went to take in an extraordinary event at the Winnipeg Art Gallery (WAG). It was a talk entitled: “An intimate Perspective on Norman Rockwell” by Norman Rockwell’s youngest son Peter Rockwell.

For me this was a must see. I had admired Rockwell’s art forever. Since I can remember seeing art I always recognized, closely examined and imitated his art. For me as a kid it was a few things. First and foremost was the way he added interesting details to his pictures. For example in the picture above you have the book at the side with book marks. The glass sitting at a slant in the open book, and it creates interesting tension. “Will that thing fall off?” is the question and you are curious. It was these additional things that I was so attracted to in his work.

It was also the way he drew his scenes with a clear hint of a cartoon style. I love cartoons and for me I saw an artist mixing “real” art with this cartoon style and be successful at it.

His art gave me a lot of ideas on how to draw interesting pictures.

The other thing about this was that it was one of his children doing the talk! How often does this happen? Therefore, I expected some kind of “inside” information on this amazing artist.

First, about the venue. I could not believe the seats. They are unlike any theater venue I’ve ever seen. You can easily “rock” on the chair and that’s very nice. Secondly they turn side to side but the extraordinary thing was they can spin right around, yes exactly, a whole 360 degrees. This certainly brought out the child in us and we began commenting and chuckling with strangers as we experimented spinning on our chairs. It was delightful and refreshing. We were immediate groups where the row ahead could turn their chairs backwards visiting with us while sitting in their chairs in comfort and ease. What a great idea for an art gallery venue.

Peter Rockwell is the youngest son. He was born as his father was entering the height of his career and it was obvious he was very familiar with how his father worked. He mentioned how they as kids were always welcome in his father’s studio which was just behind the house. Also, he (and his brothers) often posed for his father in preparation for painting his Saturday Evening Post covers.

Here are a few things I took away from his presentation.

First, that he was a workaholic. He worked seven days a week.

He painted only “positive, feel good” pictures. Even if the subject was difficult or negative he would try to paint it in a way that saw good things in the story.

His paintings were a story. He tried very hard to make the story clear, understandable and believable to the everyday person.

The biggest thing for me this time was learning abut the amazing process he went through in the creation of every piece. Generally the process began with several ideas rendered as rough sketches in charcoal. These he would show to the Post editor for his approval. Then he began with taking photos of most every aspect of the picture. The still life, the characters, the setting etc. That sounds pretty normal but this would include details like several series of photos of each area mentioned. Like several options of clothing for the human subjects of the painting, several ideas for the setting etc. So you can see how this could become quite a time consumer. Also, if down the line the outfits did not seem to work in the picture and he had other ideas, new photos were taken. Then he worked with charcoal working out the placing of everything in the painting. This would also take time as he did several of them, roughly at first but finally when things were coming together he’d do a complete one with all the details, then came the painting process. Apparently he used a “Dutch” method of painting, layering the colors till he got the right tones. to give you an idea of the care he took in makeing things just right,  in one painting, he painted 18 versions of one persons facial expression before he was satisfied it was just right.

As you can see, this was a time consuming process. He was to make one image a month for the Post, but usually finished only 8 – 10 paintings per year.

By the way, Peter Rockwell is also an artist, a successful sculptor.

What an inspirational evening and show! After the presentation we had some time to see the exhibit, but it was too much to quick. I will be going back myself when I have no time constraints and “linger”.

“By all this we are encouraged. In addition to our own encouragement, we were especially delighted to see how happy Titus was, because his sprit has been refreshed by all of you.”  2 Corinthians 7:13