Following my own creative endeavour, ‘Oxidation’, I turn my attention to the work of Mike Nelson. I have been asked to comment on ‘The Asset Stripper’ (2019). The installation occupies the same arena as ‘Oxidation’. It is an expression of post industrialisation. The overall themes encompass physical work, redundancy and dilapidation. It appears to tell the story of an inexorable decline of British manufacturing. Is the work a tenuous reflection on Brexit? Nelson said he wanted to avoid dogma, preferring the work to generate debate on what gave rise to Brexit. I appreciate the sentiments behind this work and I would not question its artistic merits, however, I feel I would struggle to persuade a layman. Some of the ideas behind Nelson’s work echo that of mine but on a much grander scale. It represents the dying embers of our manufacturing industry. Nelson sees its demise as something to be lamented whereas I consider it worthy of celebration. I see the metal husks as a representation of the enslavement of the working classes. For me, the machines are the embodiment of a society accustomed to an economy based on want as opposed to need. Nelson aptly talks of 20th-century sculptures; they ‘started to look like machines and the machines started to look like sculptures.’ As a sculptural piece, the work now extends the life of the once seemingly redundant machinery.
“The Asset Strippers” by dick_pountain is licensed under CC BY-NC-SA 2.0
Matt Calderwood
It was amusing to read the anecdote about Calderwood’s ‘Some Things Just Work’ (2004). The broom and shovel sculpture is characteristic of much of Calderwood’s work. The balancing act came about after fooling around at his place of work. I like his idea about these objects never having to work again due to their celebrity status. His work tests the perceptions of volatility, tension and symmetry. Counterbalances are the key ingredients that make some of his sculptures work. If you were searching for a representational sculptural genre for Calderwood’s work, you might look under the heading ‘janitorial’. The work seems to employ an abundance of buckets, brooms, toilet paper and step ladders. He stretches the potential of these objects to their limits. The results are interesting and provocative.
Calderwood. M. (2004) ‘Some Things Just Work’
Bibliography:
Dawson. I. (2012) Making Contemporary Sculpture: Pages 1 71-177. Marlborough. The Crowood Press Ltd.
Following an interesting and useful video tutorial, I feel more confident as I move forward. I had been apprehensive about my choice of materials and marrying those materials with ideas. I had become frustrated during part two. Was there such a thing as ‘sculptors block’? The search for inspiration seemed to take up much valuable time but not wanting to cut corners, I persevered. Eventually, I had my light bulb moment with ‘Incandescent’. My tutor commented on the number of light bulbs I’d used in its construction. He suggested I stick to odd numbers when constructing repetitive or stacked module sculptures. I agree with his assertion that this is more aesthetically pleasing. Oddly, odd seems to work in the artistically visual sense. I will amend accordingly.
I have been encouraged by my tutor to consider the sensuality of my found items, e.g. pebbles from my cairn sculpture. He suggests using aspects of their form and colour that may in turn, assist in the development of my sketches. I am flattered by my tutors’ positive comments regarding my use and application of various faux finishes. I have taken on board, his advice not to rely too much on these finishes but rather examine the characteristics of the actual materials as in say, the light bulb sculpture ‘Incandescent’. As per my tutor’s suggestion, I need to express my opinions on the results of my efforts. I need to examine how I might improve my methods in order to achieve better outcomes. I will strive to transfer my ideas into the written word accordingly and with greater frequency.
In reference to my charcoal drawings, I found my tutors comments positive and reassuring. I agree with his observations regarding presence and quality of line. I feel comfortable using charcoal. It’s a little messy but gives pleasing results. A certain level of care needs to be exercised to avoid smudging. I have been informed by a neighbour about several spray-on products that work as permanent fixatives. I think it will be a worthwhile investment.
Number one: Having never attempted clay sculpting on this scale before, I was apprehensive about the outcome. For my initial sculpture I opted for the ‘maybe not’. My mind was quite empty and I just let my hands run riot. I knew I had to explore internal and external form so I needed to put a hole somewhere and maybe a few indentations. Semi pleased with the result. On reflection, that bit on the top looks like some kind of handle. Perhaps a handle on a surreal teapot. A many spouted chocolate teapot straight out of your worst nightmare. Never eat cheese just before bedtime.
Number two: My second attempt was a little more adventurous. This face gradually took on the form of a member of my table tennis club, a pinch of Winston Churchill and soupcon of Satan. I have no idea how or why these features materialised. Half way through I began to think of Churchill. He was staring back at me. I knew I had to destroy my efforts in order to make my next piece. I got my home made cheese wire and sliced the face. The face now became two halves. A split face, a split personality. Like my sculpture, there were two sides to Churchill. The celebrated heroic wartime leader on the one hand and someone with very dubious views on race, eugenics and women’s rights on the other. I thought I’d playfully slay the beast with my axe.
Number three: I really wasn’t sure where I was going with this one. I had an overwhelming desire to recreate some kind of ethnic artefact. It could be something that’s lain dormant in the crevices of my psyche. Part of me thinks it’s an oil lamp and a part of me thinks it’s a figure on a camel. It might be easier to decipher a Rorschach psychological inkblot test.
Number four: I think I’ll call her Julie. Extending upwards and outwards proved to be difficult when it came to her arms. I had to use wire to support the weight of the clay. The holes were just a means to fulfil the criteria of the exercise and have no specific meaning. One might argue that the larger hole is symbolic of all heartless parents. Over five decades they have forced innocent children to watch ‘The Sound of Music’. I’m still speculating. These days I can take or leave Julie Andrews. I don’t know why my efforts seemed to have morphed into Julie. Perhaps I have subconsciously channelled my own tortured childhood memories on to the clay via my hands?
Number five: With an express desire to be bold, take risks and have fun, I elected to make a diving helmet besieged by an octopus. I took the clay from the last sculpture and reformed it into a sphere. I think I was influenced by a recent trip to my local Sealife Centre. Before I got started I thought I’d take a brief diversion into the world of Auguste Rodin. The main body of the piece was quite straight forward but the tentacles proved to be awkward. They fell off a couple of times. It was frustrating. I had to rework the clay and use wire to fix in place. I accept that this might not be an option if the work were to be fired in a kiln.
Bonus: For this piece, I wanted to create a geometric Celtic cross. This looked like it might easier to achieve than the diving helmet, however, this was not the case. Trying to keep things symmetrical proved difficult. The cut outs in the cross weakened its structure. I think the weight in combination with my choice of pattern and size added to my problem of stability. I persevered but not a great success. At this stage I feel I should mention how difficult it is to take photographs at various stages. Obviously, this is a messy job and you have to wash your hands between each shot unless you want to ruin your expensive camera. Far better if you can, is to enlist the help of a capable person to take those images whilst you continue your work. Sadly, I live in a village full of incapable people.
Donatello aka Donato di Niccolò di Betto Bardi (c. 1386 – 13 December 1466).
Donatello was born in Florence, Italy. He was a sculptor of the renaissance. Renowned for abandoning the empty iconography of the gothic period and reviving the classical style of sculpture. Breaking new ground, he introduced and demonstrated new philosophies in step with the prevailing trend towards Humanism. It was a movement that was departing from the Omni focus on secular religion. It favoured the exploration of man’s place on earth. His highly emotive work expressed a high level of authenticity and placed him as one of 15th C Italy’s most significant sculptors and patriarch to the renaissance.
Donatello’s work-related heavily to the rebirth of interest in mathematics, sciences and architecture that took place in Florence at that time. Using the figure as his main focal point he became the first to resurrect the nude sculpture, replacing all idolised symbolism that went before. He displayed a mastery of numerous mediums among which were: bronze, stone, stucco, wax, wood and clay. In doing so, he laid down the foundations for the sculptors of the future. Sculptors would now be inspired to seek out new potentials in materiality.
Notable work.
St. John the Evangelist (1408-15) Marble epitomizes the move away from the Gothic style. It demonstrates a more humanised approach in opposition to the legend of the subject. More attention is paid to the saint’s legs to represent the body with naturalism and accuracy. Donatello was by now, demonstrating a unique insight on perspective. He compensated for the fact that audiences would view the work from beneath, thus making the torso inordinately longer than lower limbs.
Auguste Rodin (French 1840-1917)
Rodin is widely known as the father of modern sculpture. He depicted the human form using marble and bronze. His work comprises iconic sculptures such as ‘The Kiss’ (c.1882) and ‘The Thinker’ (1902). After studying decorative arts at an early age, he attempted to enter the prestigious Ecole des Beaux. After being rejected three times, he took up work as a labourer in plaster factories. Later, he travelled to Florence and studied the work of Michelangelo. His drawings have been widely exhibited in recent years, thus elevating his reputation as an accomplished draughtsman. Some have questioned the exploitative nature of these drawings and have caused the eminent artist to be viewed in a less favourable light.
Rodin swept away the prevailing 19th-century attachment to the classical. He now placed more importance on simplicity and poise of human existence. Up to the time of Rodin, this kind of work was little appreciated. It was the antithesis of the academic sculptures so prevalent during this period. His lifelike figures portrayed a fresh attitude toward thought, love and dignified physicality. He had managed to find a way of making the materiality of his work indicate the ephemeral nature of modern man and woman. He discarded the academic style in favour of rough, more crude finishes. This approach to the surface better portrays corporeality, restlessness and action. This style might suggest psychological turmoil; however, it can also recall the perpetual dynamics of modern life.
Willem de Kooning (1904-1997)
De Kooning was born in Rotterdam, Netherlands. At the age of twelve, he served an apprenticeship with a leading design company. With their encouragement, he enrolled at the Rotterdam Academy of Fine Arts and Techniques. The same institution was renamed in his honour in 1998. He stowed away on a ship bound for the US in 1926 and settled in New York. After a brief period as a house painter, he became a commercial artist and immersed himself in the New York art world.
He led the art world of the 1950s. It came to embrace the new movement of American Abstract Expressionism, aka ‘action painting’. In the wake of WW11, he belonged to a group of artists known as the New York School. This group included his wife Elaine de Kooning, Lee Krasner, Jackson Pollock, friend Franz Kline and mentor Arshile Gorky. 1953 saw an exhibition of a series of combative female figurative paintings. The series was known as the ‘women paintings’ and shocked the art world. De Kooning’s move back to figuration split opinion. The women represented icons or types as opposed to portrayals of specific individuals.
Some saw his return to figuration as a sellout and a move away from the principles of Abstract Expressionism which affirmed abstraction. One major benefactor, Clement Greenberg withdrew his support for De Kooning whilst others remained convinced of his relevance. New York’s Museum of Modern Art saw De Kooning’s change of style as a progression in his art. They purchased ‘Woman 1′ (1950-1952) in 1953.
Sir Anish Kapoor CBE RA (1954)
Kapoor was born in Bombay, India. He migrated to London in the 1970s. He attended Hornsey College of Art and took up postgraduate studies at Chelsea School of Art. His reputation expanded during the 1980s. In 1990 he represented the UK at the Venice Biennale with his work ‘Void Field’ (1989) and was rewarded with the Premio Duemila Prize. He went on to achieve the Turner Prize the following year. His use of simple materials coupled with organic and geometric forms, result in the creation of graceful, biomorphic sculptures.
Kapoor started to investigate the subject of ‘The Void’ within considerable stone sculptures. Some had detailed interiors and exteriors with others distinctly defining unoccupied voids. Kapoor’s most high-profile sculptures include ‘Cloud Gate’ and ‘Dirty Corner’. He owns the rights to the blackest paint in production much to the disdain of fellow artist Stuart Semple. Semple has been banned from retailing the paint from his Mayfair art shop. He intends to create an even blacker black and has banished Kapoor from his shop.
Jon Isherwood (1960)
Yorkshire born Isherwood studied both at Leeds and Canterbury colleges of art. He gained a Ba with honours at the latter. He graduated from Syracuse University in New York. He studied sculptural techniques under the guidance of Anthony Caro between 1984-86. He continued his involvement with Caro from 1988-93, partaking as an artist at Caro’s Triangle Artist’s Workshop in New York. Unhappy with the process of casting in concrete and metal, Isherwood began working with stone at the start of the 1990s. He set about examining its interior characteristics along with the spectrum of capacity for exterior forms. He explored the use of various finishes. These included the use of polished, chiselled, smoothed and coloured effects. Much of Isherwood’s work recalls ancient, monumental and totemic structures. Their abiding austere nature endures through the ephemeral age that we currently inhabit. Latterly, Isherwood has combined handcrafted work with computer-aided technology.
Adrian Villar Rojas (1980)
Sculptor Villar Rojas was born in Argentina in 1980. He represented his country at the 2011 Venice Biennale. He works primarily in clay. This choice of medium was initially based on its availability and low cost. Nowadays it’s his preferred way to express his idea of form. He creates sculptures with raw, physical nature. The resulting dried out cracks are reminiscent of relics but the work still retains a modern form. Much of Villar Rojas work mirrors that of land artists Walter de Maria and Robert Smithson. His works are generally demolished post-exhibition. They become a kind of impermanent art form. This idea of impermanence seems to appeal to the sculptor. He uses found material to produce haphazard podiums. Fossils, appliances, fruit and further items are inserted into podiums. Each of the pieces decomposes at varying rates over a time span.
Rebecca Lowery (2018) Adrian Villar Rojas [online] MoMa. Available from: https://www.moma.org/artists/42576 [Accessed 7th September 2019]
The Willem de Kooning Foundation (2014) The Artist/ Biography [online] The Willem de Kooning Foundation. Available from: https://www.dekooning.org/the-artist/biography [Accessed 7th September 2019]
Today saw me attempt to find and photograph as many sculptures that I could find within an hour. It’s £1.80 an hour to park a vehicle. I’d just been let off for a parking fine a few days earlier. Long and boring story so I shan’t bother to elaborate. I’m in my local town of Hastings, 1066 country. There is not a great deal on show and they’re quite spaced out so I need to get my skates on.
This installation has been in storage for 19 years. It was first shown in Pittsburgh, USA in 1999 and has recently been re-installed at Tate Modern. She merges painting with architecture and likens her sculpture to brush strokes that are thrown across the room. She demonstrates the obsolescence of many of her chosen items that she used in the construction of this sculpture. She views sculpture as a tool used to make sense of time and space. It was interesting to note how the tools used to create the work then become incorporated into the work. Many of the objects in the installation represent different times. There are dated till receipts from 1999 and the present day. Air from a fan, electric lamps and water give the installation a sense of movement and challenges the static nature of sculpture. The objects transcend their surroundings and situation. Sze seems to make use of space that would normally be overlooked. Her work manages to obscure the division between the objects traditional usage and their visual representation.
Matthew Day Jackson. Still Life and the Reclining Nude, Hauser & Wirth London
Day Jackson is attracted to re-thinking traditions in art. He was inspired by walking with his family in the woods. He was interested in how they interacted with the natural environment. It spurred him on to explore much larger themes on how we all interact with nature. In ‘Still Life and the Reclining Nude’ he examines how things from the past reveal themselves in the present. He delves into how forms and tradition persist in modern times. He references Nell Irvin Painter’s ‘History of white people’. He is interested in how western art perpetuates the mythology that beauty relates only to whiteness in terms of race. His ethos appears to surreptitiously overturn the notion of the American dream. Day Jackson invites us to think of and view ‘Reclining Nude’ as morphing into terra-landscape and discover a conceivable relationship betwixt the two. The sculpture is entirely constructed from natural materials whilst the painting is made using artificial material with the exception of lead. Lead in this case, symbolises death and the transience of time.
Reference list:
Hauser & Wirth London (2018) Matthew Day Jackson. ‘Still Life and the Reclining Nude’ [online video] Youtube. Available from:https://www.youtube.com/watch?v=GFyITcN73N0 [Accessed 07th July 2019]
I am encouraged by my tutor’s response to my first assignment. I understand the point he raises about drawing the sculptures. I have yet to get to grips with the idea of using drawings as a way of developing ideas. I am sure this will transpire as I progress. I will endeavour to expand my choice of media in the future. I had what I considered great success with some charcoal sketches. Charcoal does have its drawbacks in that it has a habit of transferring black marks on to existing or other work. I need to exercise more care when using this medium. It is clear that I need to store these drawings in individual folders with care. I hope to purchase some oils in the near future. I’d like to experiment with some heavily textured portrayals of my work.
Reading between the lines, it seems it was okay for me to gather materials whilst simultaneously forming an idea for a subject. I had worried and stewed over whether there was some strict sequence to follow or be adhered to. My tutor described my method as a fluid yet driven approach. I will take that as a compliment and use it to build my waning confidence. It is suggested that I research semiotics as it will give me a better understanding on how objects are read as symbols. I touched on this subject in the compulsory part of this course. Never the less, I take his comment on board and will take a fresh look at the subject with a renewed purpose. I further agree with my tutor that whilst attempting to construct sculpture that expresses all the meanings, I have restricted my method of construction.
I think I follow what the tutor is saying about my use of a concrete plinth. It is perhaps surplus to requirements. A bit of a cop out, maybe. It does not relate to the other materials and their intended purpose. I could have exercised a little more creativity. I should have made more use of existing, similar or duplicated materials and been more experimental when trying to achieve stability. I have begun to compile a glossary of terms associated with the subject of sculpture with a view to assisting me with my understanding of context. Having read my tutors report a couple of times, I now feel more positive moving forward.
I chose cairns as the subject of my first in a series of four minor sculptures. Cairns are man-made stone mounds. They have been in existence since prehistoric times. The word Cairn originates from the Scots Gaelic term Carn. They have been used for a variety of purposes. In many parts of the world, they were used as markers on trails and waterways. They have been used for ceremonies, as burial markers, coastal guides and have also been linked to hunting and astrology.
I took to the beach once again. This time I would restrict my search to stones. Of course, these shores at Pett Level have an abundance of pebbles. To make things a little more interesting, I singled out stones with a maroon tinge. I gathered them up into my cloth sack and furtively made my way back to my vehicle. I’m not sure if it’s illegal to remove stones from the beach but hey ho. I placed the collection onto a work bench and admired my choices. Some weeks ago, I took some photos of these impressive cairns that had been assembled on the same beach. I think that experience may have subconsciously prompted my choice for this subject.
I began to sketch the pebbles as they lay in a disorderly pile on my workbench. I thought about the relief sculpture I’d created for project one. I wanted to avoid the mistakes I’d made with regards to adhesion. It was my intention to hot glue each stone and form a small table top cairn. It would be a futile exercise without suitable preparation. I laboriously coated each stone with a sealant. This would ensure good adhesion. I’d lost the matt look of the stones as they took on a polished lustre created by the sealant. It was as though they been washed with sea spray itself. I have a more sophisticated idea of how to construct the cairn. I would use a high- speed lapidary drill to bore holes in each pebble. I would then use 3 mm wire to join them together. I resolved to use the hot glue gun for economy of money and time.
I randomly glued the stones together. Starting with the larger stones to form a solid foundation, I worked my way upward in a spiral fashion. Each stone supporting the next one. I paused from time to time, standing back to see the cairns progress. I stopped once I’d reached the optimum 35 cm height. I felt pleased with my efforts with one exception. The appearance of the milky white, cooled glue oozing from each layer gave the game away. I cheated a little as I took photos at certain angles in an effort to disguise this feature. On reflection, I suppose I could have painstakingly painted the glue with a suitably coloured acrylic paint.
Metbox soliloquy (2019) Stevens, D. Height 350 mm; Metal and wood.
For the second in the series of small sculptures, I chose Malevich’s arkhitektons as an inspiration. This idea did not readily spring to mind. It was the result of a painstaking hunt through the drawers of a previous incarnation as an electrician. I discovered a stash of electrical socket, metal back boxes. These are made from galvanised steel and come in various sizes. I could see their potential straight away. They are riddled with fixing holes and internal threaded tags. I had the idea of bolting the boxes together much like Meccano. The open boxes could be placed together to give the appearance of solid block formations.
The plinth was cut from a fine piece of four by two-inch prepared pine. I screwed an open box on to the wood as a starter. This would act as a solid foundation. Fixing the boxes together required some thought. I had to drill strategically placed holes in each box. These holes had to align with the internal threaded tags. I developed the sculpture with a certain amount of randomness, twisting each piece this way and that. Akin to the style of German sculptor Stepan Siebers, the whole piece gives the illusion of improbable balance. I stained the wood using Colron wood dye.
Incandescent memoriam (2019) Stevens, D. Height 350 mm; Glass and metal.
Following another hunt through the garage, I found some old incandescent bulbs. These would be the inspiration for my third in the series of small sculptures. I began to construct a totem-like sculpture using the bulbs. It required deftness of hand. Of course, I couldn’t balance each bulb on top of another without a little help. I employed some Plasticine to fix each bulb in place. This method allowed me to experiment with a variety of positions. I found and used jam jar lids to separate each bulb, recalling imagery of vintage, enamel candle holders. After some deliberation, I finally decided on a particular order. Start big and finish small, like a politician perhaps. The bulbs are the remnants of a pre-energy saving era. My aim was to present the sculpture as a memoriam to that era.
At the the next stage, I fixed all the pieces in place using a hot glue gun. I had hoped to get on to the painting at this stage, however, disaster struck. As soon as the brush hit the glass, the fragility of the piece became apparent. The hot glue gave way. It’s adhesive properties were sadly lacking for this particular job.
So, on to the final stage. I had decided from the outset that I would decorate the piece to give a weathered bronze appearance. I decided to paint each piece before assembly. I used the trusted Zinsser 123 primer for the first coat. This quality universal primer is great for virtually any material and dries rapidly. The second coat is my own recipe made up from an assortment of acrylics. To get the fresh bronze base colour you’ve got to aim at a drab olive hue. It looked ghastly at this stage. After that second coat had dried I moved on to the verdigris. Again, the verdigris was made up from a mix of different matt acrylic paints.
The application method is important when attempting to achieve an authentic quality. Smooth surfaces are more difficult than those with nooks and crannies. I made random daubing’s in short stages. I methodically wiped the verdigris with a rag before it had a chance to dry. It takes practise to get it right. I have done this many times before. The final stage involved the application of a metallic finish. I initially decided to use a bronze gilders wax. This had become dry over the last three or four years. Even with the addition of some white spirit, I wasn’t achieving the desired effect. I moved on to an acrylic metallic bronze paint. The trick with this paint is to use sparingly. Less is more. You can use a dilutant such as Liquitex but that’s for the faint-hearted. I used very light strokes with a small art brush to form a realistic effect. Upon completion, I super glued each piece into position. Finished.
Toy story (2019) Stevens, D. Height 350 mm; Plastic
I took another trip to the local charity shop for further inspiration. Of course, I’d much prefer to rummage around at a recycling centre, however, their strict rules prohibit the general public from foraging in their skips. I don’t know if this is a blanket policy across the UK, if so, that would be a shame. I understand the health and safety issues but what an untapped rich seam for the creative mind. I wasn’t sure what I was looking for. I had this idea about dolls heads. I would create a totem structure using plastic dolls heads. There were no dolls heads but I managed to find some small toys. They would serve the same purpose. For one pound I purchased a donkey, a toucan, an elephant and two recently popular toys called minions.
The original colourful state of the toys represent the vibrancy and promise of tender new life. I begin my construction by painting the items with the Zinsser 123 primer. To maintain stability of the proposed totem I need to drill holes in strategic places. I thread stiff 2 mm wire through the holes of each item. This allows me to experiment with different arrangements until I hit on the optimum. I now placed each item on top of each other to seek out good balance.
I dismantled the totem and painted each item individually. I used some black, heat resistant paint for this purpose, no specific reason other than it was an old tin knocking around and needed to be used. This black background would serve as an antiquing effect to the final metallic coating. I wanted to create a sort of steam punk effect so I elected to use some copper wax for this final coat. I lightly rubbed the surface of the toys with a rag dipped in the wax. This action transformed the items into something quite remote from their previous existence. No longer viewed as toys but more a symbolic reference to the transience of time.
Red glass totem (2019) Stevens, D. Height = 900 mm; Glass
I drove into Ore village to seek out some things to construct a totemic sculpture. I wasn’t sure what things but something was bound to jump out at me. There are two charity shops in the village, Macmillan and Sue Ryder. It was whilst I was rummaging through the shelves at the latter that I discovered a dust covered selection of red glassware. They were the sort of items that were all the rage in the 1960’s and 70’s. They seemed to sit there lonely and unwanted. They probably had at one time stood pride of place within a nicotine stained display cabinet in an otherwise dull living room. Perhaps they had clattered atop a hostess trolley pushed through shag-pile. Stored in a loft, the leftover relics of a sometime snuffed out soul. These effects are often the castoffs of the highest bidding house clearer. Looking beyond the kitsch value, I saw the translucent red glass with all its connotations as representing a naive bygone era.
I purchased eleven glasses and five decorative china saucers all for less than a fiver. Sadly, I broke one dessert bowl whilst exiting my car on arrival back home. I had already mentally constructed the totemic sculpture before reaching my studio. It was all a question of which order I would place the various glasses in. I wanted to retain the redness, make it stand out further. I thought that the clear glass stems would detract from the beauty of the translucent red. I painted each stem with Zinsser primer followed by a bland, neutral matt black. I wanted to use the saucers to give the piece the appearance of having tiers. I gave the saucers the same treatment.
Once the paint had dried overnight, I began to experiment with different arrangements. I finally chose the brandy glass placed on a saucer as the base for the structure. I could only reach a certain height without permanently fixing each item. Too much would see the whole thing crashing to the ground. By this stage I had a mental picture of where each piece would end up. The saucers would be equi-spaced and topped off with the two tallest, elegant glasses. I used industrial strength super glue to fix each piece into place. Just out of curiosity, I thought I’d do some research … see if others have made totemic glass sculptures. It was a bit disappointing to discover that others have had the same idea and many examples put mine in the shade.
‘Red glass totem’ Large drawing using charcoal and acrylic paint. Dimensions: 1.25 metre x 70 cm’s. See also, Project 4.
Green Glass Totem (2019) Stevens, D.
I couldn’t resist another attempt.
Oxidation (2019) Stevens, D. Height = 900 mm; Polystyrene and metal.
I chose polystyrene as the medium for this totemic sculpture. It’s a material in abundance. I have many boxes full stored in my loft. I wanted to demonstrate how to create an illusion of weightiness using ultra light materials. I took inspiration from Malevich’s Arkhitektons, Jacques Schnier and the work of German sculptor Stephan Siebers. Much of his work centres on imbalance that in turn, relates to the human condition. It portrays emotional instability with a longing for security.
I randomly picked out several pieces. Using some 3 mm wire, I was able to construct several variations of my prospective sculpture. Once I’d decided on the final arrangement I began to construct the work using the wire and hot glue. I knew from the start that this was not going to end up looking like a pile of polystyrene. It was going to represent post industrialisation. A corroded hulk of unidentified machinery. Each piece stands precariously on another. A symbolic gesture to a gradual decline of the the old world order. A creeping realisation that the planet cannot sustain itself based on current economic models.
Before permanently fixing each piece into place I painted internal and ‘hard to get’ to areas. I used the Zinsser as a primer. I coloured this paint using different dyes to achieve a colour that closely resembled rust. This colouration will not show but is merely a safeguard in case the top coat finish reveals any untouched areas.
At the next stage I prepare my own recipe for what will be the true rust finish. It’s a process I devised about five years ago. I have sculptures that have weathered well in that period with no peeling or wearing off. It will adhere to anything. I brush the concoction on to the primed polystyrene and leave to dry. This usually takes about three hours at average temperature.
The next stage requires some protective equipment. Gloves, eye goggles and a suitable vapour mask. I recommend 3M 4251 for organic vapours. As this process involves highly corrosive acid it is advisable to wear suitable clothing and have a plan of action for spillage or splashes. I mix muriatic acid with hydrogen peroxide and brush on to the painted surface. After a couple of hours I use a watering can to sprinkle my activation solution on to the sculpture. Rust will begin to develop after three or four hours. The natural elements will accelerate this reaction.
‘Oxidation’ Large drawing using charcoal and water colour. Dimensions: 1.25 metre x 70 cm’s. See also, Project 4.
‘Aqua’ (2019) Stevens.D. Metal, plastic, glass and concrete. 60 x 150 cm
I chose the translucent red tube because it represented a conduit for water. Water was my subject of interest. I set about sourcing any discarded items that I could use to construct a sculpture that might portray my subject. I found a plastic watering can. I decided that this might be useful as the main focus. I drilled a large hole at the base of the can. The hole was big enough to fit snugly around the red tube. For rigidity, I hot glued them together. I considered the stance, poise and weight when deciding on the base. I needed something of considerable weight but not too showy. I found a small concrete block with a hole. This was perfect. The diameter of the hole was a little too large so I had to think about how I could secure the tube to the block. I placed the tube in the hole and poured Crystacal plaster into the cavity. The weight of the block allowed me the freedom of adding weighty objects whilst maintaining stability.
The beginningsBuilding an ideaA plinth?
I now had the bones of the subject but I had to think about where this idea was going to lead me. How could I expand beyond this basic shape? Of course, there is so much to say about water, vital in sustaining all known forms of life on earth. I thought I might choose mundane but contrasting objects. This approach had all the possibilities of translating into the different ways in which water is regarded in both developed and developing countries. I thought about so many issues surrounding water. The Water Aid project calculates that 844 million people don’t have nearby access to clean water. Well over two billion do not have a toilet. Here in the UK, many are disgruntled at any suggestion of a hosepipe ban. I found an old car wing mirror and glued it to the filling hole of the watering can. Can I just look at myself for a moment? Can I feel easy about watering the petunias in the garden when confronted with these uncomfortable truths? The watering can is ‘holding a mirror up to society’.
Holding the mirror up to …Tap and hose added
Each particular element in combination with the subject could have multiple connotations. There are current concerns about plastics contaminating the world’s oceans. Should the water ‘industry’ be in the hands of private companies? Why are golf clubs exempt from hosepipe bans? Industrial and agricultural expansion is contributing to drought conditions across the world. What is being done to tackle these problems? The sculpture needed more aquatic touches. I resolved to throw the kitchen sink at the structure. I found an old shower hose and a brass tap. I fixed the hose to the side of the watering can. I had to glue a threaded fitting in place to accommodate the hose. The hose was a bit flimsy. In order to give it some shape, I placed stiff but malleable wire inside the hose. This allowed for some creative coiling. I glued the brass tap into the spout and attached the other end of the hose. The diagonal lines of the watering vessel express a feeling of movement. Its position suggests instability whereas the vertical lines of the Perspex tube convey a sense of height and importance.
I bolted a rather uninteresting piece of wood on to the tube in a horizontal position. Could this be made to subliminally symbolise the death of marine life? I found some 3 mm wire and some plastic mesh. Already, I’m thinking about a shrimp net. This could lend itself to the theme. I fashioned and cut the wire into a semi-circular shape. I drilled a 4 mm hole at each end of the wood and fed the wire through. I glued each end into place. I then placed and glued the mesh over the wire and trimmed the excess with scissors. These additions seemed to add greater stability. At this stage, each part is relating one to another. I have an overwhelming urge to spray paint the entire composition. I want everything to appear uniformly neat and clean. Could a neutral shade better expose sharp lines? The existing cacophony might strike a discordant note and perhaps that is what I’m subconsciously trying to achieve. Am I aiming for harmony or conflict?
Four millimetre holeFeeding the wire
Sketch in pencil and charcoalAdding and trimming the meshEnmeshed
I left my sculpture for a few days and concentrated on my research. Upon returning with fresh eyes, I felt I needed to add one or two items. Of course one has to draw the line somewhere. I decided to add a sink waste trap and a water symbol made up from wire strapping, wire and two circular cuts from a drainpipe. Any more than this and the project would present as too busy in my opinion. I glued the trap on to the can using my hot glue gun. Again, using the gun, I fashioned and affixed my symbol to the highest point. This whole process has ignited the critic within me. If I’m honest, aesthetically speaking, I don’t like my creation. This could have gone better but I can take comfort in the knowledge that my endeavours will improve with practise.
Symbol assemblyCutting the circles for the symbolAffixing the trapAffixing the symbolAqua: Pencil and watercolourEnd game 1Aqua: Pencil and water colourEnd game 2Aqua: PencilEnd game 3
BA Hons Creative Arts: Starting out in 3D: Sculpture 1 