BA Hons Creative Arts: Starting out in 3D: Sculpture 1

Project 7: Bas-relief

‘Tools of the trade’ (2019) Material: Plaster. Height 40 cm x Width 30 cm

I started my project by cutting some 3 x 1 inch prepared timber to an optimum size. I screwed the pieces together to form a rectangular frame. Using a rolling pin, I rolled out some clay to an even thickness of approximately 2 inches. I then placed the frame over the clay and pressed down hard. This left an impression of the internal dimensions and allowed me to accurately trim the clay to size. Once I’d cast the excess clay aside, I replaced the frame over the remaining clay and smoothed further using a decorators scraper. It was important to get an accurate fit up to all edges. Any gaps that are left might allow wet plaster to seep away from the frame. From experience, I know leaks can be plugged using clay, however, prevention is better than cure. I  initially struggled to come up with an idea for this first bas-relief. I was rooting around for some screws and saw some tools staring back at me. Bingo, this would make do as the basis of my project.

I began to randomly press tools into the soft surface of the clay. I discovered that talc really did help with a clean release. I used two pairs of pliers, a tape measure, a small spirit level, a trimming knife, screw drivers, drill bits, a spanner and a wrench. Once I’d completed the impressions, I smeared vaseline around the internal sides of the frame. This would allow for ease of release upon completion of casting. Washing up liquid would have been sufficient but vaseline is 100% fail-safe. I mixed the plaster in a flexible plastic bucket and poured the mixture over the impression. The coverage was about an inch thick. I poked some jute into the plaster. This would give the plaque added strength. I cut and shaped some 2mm copper wire for a hanging hook. I strategically placed the wire into the plaster. I used copper because steel would rust and bleed through over time. An hour later, I carefully turned the full and heavy frame. I unscrewed the frame and peeled away the heavy, thick layer of clay. The results were quite pleasing.

Once cast, I washed all clay residue from the casting. High pressure hose was effective. I wanted to dry the plaster as much as possible before painting. I placed the plaque on a radiator when central heating was on. Another tip is to place in oven when cooking of food is finished (always check with the wife though). Once it had fully dried out, I gave it a coat of primer. I thought about how I could accentuate the protruding shapes. It had to look industrial. I chose a matt black acrylic paint as the background and metallic silver wax to highlight the tools. I thought the finishes complimented each other. A grimy finish that communicates an industrial feel, perhaps.

     

‘Brexmas greetings’ (2019) Material: Plaster. Height 40 cm x Width 30 cm

I based this plaque on a previous effort in the first part of this course. It is succinct. It reflects my own feelings on how we treat people seeking refuge in our country. I feel a combination of embarrassment and anger at the current political climate in our country. The subject of immigration seems to have been hijacked to further certain political ambitions and stoke animosity within those less enlightened. It was so easy to sow seeds of fear and division into the minds of so many people primed for so many years. Some people appear to thrive on the constant drip feeding of xenophobia led mainly by certain sections of the media. We’ve had a couple of known beach landings here at Pett Level. Some onlookers were metaphorically baying for blood, goading the local police into action. I had to remind someone that these were human beings. It’s a complex problem that’s not going to go away soon. I have attempted to transmit my feelings into my work.

 

 

I followed the same procedure as in the first ‘Tools of the trade’ bas-relief. I had hoped for a better hand print. The thumb is missing. No matter how I tried I could not position it to make this possible. The shells were quite easy. They required quite some pressure, the same for the boot. Talcum powder certainly helped with release. There was a little bit of plaster seepage from the frame. This was quickly remedied using some clay to plug the leak. After de-moulding I hosed the plaque down and placed it on a radiator to dry. Once dried, I primed the surface using Zinsser  321. Continuing the theme in project 1 of part one, I painted the top coat in a matt red acrylic. It was not easy to source a matt red paint in such a small quantity. In frustration I eventually scoured a DIY store for some match pots. I had learnt a valuable lesson about choice of colour and finish from project 1. My initial choice of a gloss finish led to too much sparkle and not enough depth in my photographic endeavours.

    

‘Still life’ (2019) Material: Plaster. Height 40 cm x Width 30 cm

Still life was my own rather wishy washy attempt at some kind of bas relief version of a vanitas painting. I don’t think I quite pulled it off but I think it could have potential for a future project. I recalled Edwaert Collier’s still life paintings from a previous course. They portrayed the inevitability of death and the transience of earthly pleasures and achievements. Could a clothes peg be classed as an earthly pleasure? The items in each artwork symbolised the fragility of our existence. I had the skull, the food mincer, the wine glass and house keys etc. It lacked a time piece, a candle and a violin. Some of my items might still be viewed as items that symbolise life’s pleasures. I repeated the process of the previous project using the same wood frame. Rather than painting the finished plaque, I opted to pigment the plaster using a green mineral dye. Once the plaster had thoroughly dried, I highlighted the items using a brass paint. I wanted to achieve a corrosive appearance. I was not entirely happy with the result. The paint was too dull and did not contrast well with the green matt finish. I decided to use a copper coloured gilding wax in its place. This finish gave a more pronounced and authentic look.

   

‘Palette’ (2019) Material: Plaster

For this extra bas relief, I chose a different shape to work to. I wanted to demonstrate my ability to create a free-form shape using a different method and in place of using a rigid wood frame. I adopted a naive art style to create this vibrant artists palette. From the start I placed an image of a palette on my workbench. I could study the image as I worked. I rolled out the clay to the optimum thickness and proceeded to fashion a shape using the edge of a decorating scraper. Once I’d got the desired shape I placed a flexible but stiff plastic strips around the edge of the cut shape.

The strips were cut from A4 sheets using a paper guillotine. This thin perspex was ideal to faithfully follow the shape and would be rigid enough to retain liquid plaster. The length of the contour was greater than the size of the strips of perspex so I had to join three together using sellotape. I used clay on the outside to reinforce these joints and make them liquid tight. Having prepared the flat clay I proceeded to place and impress art related tools and paint tubes into the soft clay. I obtained the miniature artists easel from a cheap shop. All went according to plan and no leaks. Upon completion I released the finished work from the clay. I washed the plaque and dried it out on a radiator. I gave it a coat of Zinsser primer. After some thought I rubbed brown gilding wax onto the unadorned parts. I attempted to create a wood effect using this method. I did not achieve the desired effect. I knew I’d have to cover up this mistake but was not sure if any paint would adhere to the waxed surface. I used a darker acrylic paint with no problem. I painted the rest of the plaque. This proved to be a bit fiddly, especially the long thin brush stems.