The course notes for project 7 did not fill me with inspiration!
I thought about some possibilities:
- bottles spilling their contents – cast bottles, plaster bandage spill to ground, pour liquid plaster over. Similarly pour colours over top and let mingle where meet.
- could try lining a container with wood/etc. before casting?
- Metal/wood rods through bottles, seal with latex?, then cast. Could be messy if doesn’t work!
I couldn’t think of anything which would really get me fired up though and so, after checking with my tutor, went my own way, with the new brief of ‘casting a number of items’!
So, with the brief now wide open, it was time to think of some new ideas.
I was that time of the year when I first started looking at this and these seemed to offer potential. I struggled to think of how to arrange them into a sculpture (which wasn’t too literal) though. To my mind, they would also be best to cast in glass which might be stretching what I can achieve at this point.
Maybe an idea to sit on for now.
The doughnut shape of the bronze casting I produced on the Yorkshire Sculpture Park course gave me an idea for a Yarnbury mining sculpture:
Yarnbury Moor above Grassington is an area which was heavily mined for lead. Many of the early mines used bell pits of shallow mining. I’m not quite sure what the difference between these is, but they both seem to leave a similar shaped hole which is similar to the doughnut shape of my bronze.
My idea was to create a simple doughnut shape, cast it in wax, work on the surface texture, then cast it in bronze.
The course notes for this project say “What we must realize is that casting in metal is a very expensive and time-consuming process which, as students at this level of study, is neither practical, appropriate or economical, as many of the sculptors’ works would be paid for by patrons or institutions.” – The “not economical” I will get around by casting myself and on a small scale, the “not practical or appropriate” I will ignore!
As a first bronze casting in my back garden, the size would be small. As for surface texture, I thought it would be good to represent the ore seam running through the shape, as well as a map of the area. Yes, it is literal and I know my tutor is trying to steer me away from this work, but it appeals to me and fulfils the casting brief (several times), so I will pursue this one.
Researching this on the web, I came across a cartoon about turning lead into gold. I wonder if gold could be applied to a bronze by keum-bo, a process I have used in jewellery making to fuse gold foil onto silver using heat and pressure; a potential idea to try out. Otherwise, the seam could be represented using a different patina?
Try casting my hand in a flicking position like my sculpture in Stage 2, but mount on its own.