Sculpture 2 – David Marquez

January 21, 2015August 31, 2015

Exquisite Corpse: Artifacts

Exquisite corpse or Cadavre exquis is traditionall a drawing technique where a bank of words or images are collected and then assembled to create a finished composition. In this project we will explore this surrealist idea in an assemblage of components to create as “Exquisite corpse” sculptural artifact.

Mission: (Project Description)

In this project the student is asked to create five artifacts from the inventory of objects created from previous mold making assignments. Students are allowed to to melt, cut, deconstruct and transform existing objects and reassemble them into unique sculptural forms/figures. The final form may be prepared as if to be cast in metal using teethe gating method for traditional investment lost wax method. Other materials may be added. Attentions should be given on how additional materials are fastened to the wax objects. Note wether objects will remain as original material or be cast pin metal.

Sketchbook Assignment:

Sketches of your ideas should be rendered before and during sculpting. A minimum of five pages should be dedicated to this sketching component. Draw as you create. Draw what you create. Take notes. Printed images of inspirational sculptures or objects should be placed in your sketch book as well. Your sketch book will be graded along with your project.

Scale:

A 9 to 10 inch object should be the goal of the wax component of this assignment. Five compositions that explore this process is expected. Students are encouraged to develop more than five composition. Focus on strategies and structures that will hold together. A functional wax welding technique is critical for patterns to hold together. Slush larger forms, wax forms larger than a 2 inch thickness should be cast hollow.

Engineering:

Focus your attention on how things go together. Craft is important to allow this form to be ready for the lost wax casting method. Tactics on connecting parts to one another should be a major factor while choosing and making the object as a whole. Structure and how the form stays together compositionally will be held under strong critique.

Material/Structure:

Wax and other components. Wax welding will be explored for this project. Other materials to hold form together will also be a necessity: wire, mechanical fasteners, adhesives, and innovation… Students are encouraged to add other materials/ components to the form. Yet 60 percent of the form should be constructed of components made from molds produced in this course.

Reliquary Component:

Build a reliquary for your final chosen object. This reliquary can take on many forms but should house your form with absolute intent. The marriage between object and reliquary should make sense and have a good balance to focus the audience towards your work. Again craft is very important. Below is a list of types of reliquary objects and materials acceptable for the project.

• Wood: Sculpted, hollowed out, or fabricated wood structures
• A well designed/crafted crate may be fabricated as well.
• Plaster, plastic or wax castings of the body or other objects.
• Note: Plaster can be sculpted cast and hollowed out to hold an artifact.
• Installations: Consider the idea that a reliquary is much like a shrine
• Metals fabrication/containers
• Glass
• Plastics
• Books: Sculpted, hollowed out, or fabricated structures
• Paper, books, and cardboard:

It is expected that the concept and fabrication of the reliquary and the marriage to the object, be convincing. Challenge yourself to meet the aesthetic and craft related to your object or concept and to the echelon of this course.

Tools and Materials:

• Eye Protection/Safety Glasses
• Sketch Book
• Clay Tools
• Hot knife or soldering tool
• Hobby knife
• Fettling knife
• Trimming Tools (Various sizes)
• Loop, wire and ribbon tools
• Wooden modeling tools
• Needle Tool
• Dust Mask/Particulate Respirator
• Safety Glasses
• Wax smelting pot
• Wax
• Wax tools
• Materials for cast pattern
• Mixe media
• Adhesives, fastening materials
• Wood
• Wood Shop
• Metal
• Rubber or Latex gloves

Create a label for your project with these specifics:

• Name:
• Dimensions: HWD
• Materials:
• Year Complete:
• Course:

Tape your label to your project. Use masking tape so that it will not harm your project.

Objectives:

Method: Planning, Cutting Safely, Building techniques and strategies
Material Characteristics:
Three-Dimensional Pattern Making
Volume: HWD
Fabrication techniques: Wax casting fabrication, Object creation
Structural and Aesthetic qualities
Finishing Techniques: Heat and chemical surface treatments
Sensibility to form: Good design, clean aesthetics
Integrity of the artist to their craft

Evaluation:

Work ethic: Participation in and out of class
Scheduling: Students stay on task, project finished by deadline, critique.
Well Engineered and Functional mold for long term use.
Craftsmanship and aesthetics: Well crafted mold with well crafted “Clean”castings.

Caution:

This process uses chemicals and materials that might be dangerous for some people. Read the MSDS (Material Safety Data Sheet) for questionable materials. Please use a respirator and rubber or latex gloves while using chemicals. A dust mask may be used rather than a respirator. The respirator will provide better protection.

This project will incorporate hot wax and wax welding tools. Be careful for for yourself and when working around others. Safety and a disciplined studio etiquette should be followed during all studio activities.

Research/Inspiration:

U-Ram Cho
Kris Kuksi
Christian Marclay
Tim Hawkinson
Andrew Werby
Louise Bourgeois PBS
Jessica Joslin
Kathie Olivas and Brandt Peters
Elizabeth King
Ron English
Steve Dilworth
Sophie Kahn
Becky McDonah
Christopher Conte
Ashley Wood

Project Gallery

January 21, 2015August 31, 2015

Welding Line-Form-Repetition

Mission: (Project Description)

Create a sculptural form/structure that develops from the linear quality of welded and fabricated metal. The final form should have a sense of variety and repetition of elements. Add a skin to some or all components of the structure. Develop an aesthetic in the connection of skin to form.

It is expected that a concept be developed that will draw the viewer into a transformed space. A linear form should be the initial aesthetic, creating a structure that defines a new space. Lines, shapes and forms may be curved or straight, yet artist intent must be obvious and well crafted.

Sketchbook Assignment:

Sketches of your ideas should be rendered before and during sculpting. A minimum of five pages should be dedicated to this sketching component. Documentation is a critical learning habit. Not only does it record growth and provide reflection, it will foster new ideas. Printed images of inspirational sculptures or objects should be placed in your sketch book as well. Your sketch book will be graded along with your project.

Draw as you create.
Draw what you create.
Photograph as you create.
Take notes.

Fabrication:

Form: Beyond line, develop a composition that creates or entraps volume as shapes create form. Do not build a flat 2-dimensional drawing.

Welding will be the primary fastening technique.
Other fastening techniques are encouraged.
Welds should be clean. Relative: no Slag, no whiskers.
Use the grinder to clean your welds.
Re-weld if needed.

Skin:

Other materials are not only encouraged but expected. Greatly consider how materials are secured to the structure. Develop aesthetics in the way skins are connected and use them wisely and consistently. Look for texture in the materials search for. Add texture with other materials such as tar, acrylics, and resins.

Display:

Build a form that can stand on a surface, project off the wall or hang from the ceiling.
Choose and design wisely. Aesthetics and good design should be greatly considered.
When engineering, developing, and building fastening devices and supports for sculpture, stay away from obtrusive devices that may take away from the concept or aesthetics of the work.

Installation:

Make sure the design works.
If free standing, make a structure that is self supporting.
If the form will be a wall hung piece, a well engineered mounting strategy should be developed to secure the work to a wall.
If the form will be a ceiling hung piece, a well engineered mounting strategy should be developed to secure the work to the ceiling.
Allow space for fasteners such as screws to be tightened during installation.
Test your designs before final installation and critique.

Material/Structure:

Sculpture will be made of bent and welded 1/4 inch metal rod and other metals and “skin” materials introduced by the student.

Scale: (HWD)

A minimum of 30 ft of metal rod will be used for this project. Additional material may be purchased to build the form. Final Dimension of Sculpture: The minimum range to shoot for is 2 ft x 3 ft x 1 ft.

Craft and Aesthetics:

A high degree of craft is expected in the fabrication. If wall or ceiling mounted, remember to allow space for fasteners such as screws to be tightened with ease for installation. This is often missed and installation becomes difficult. The skins should be consistent and foster a cohesive visual conversation to the viewer.

Finish:

A metal finish should be considered for exposed areas. Ends of rod should be well finished/polished with a grinder. A polish, patina or paint may be used. Absolutely, no spray paint in the shop. If spray painting, work outside or in a spray booth. Place a protective material such as newspaper on all surfaces under and around the work area, even the concrete floor. Prep; clean, sand and use a primer before metal is painted. Most metals have an oil on them that will resist paint and surface treatment. It is a good idea to clean the materials before you begin the project. Sanding before cutting and welding will be beneficial.

Tools and Materials:

Safety Glasses
Measuring tape
Welding Eye Protection
Welding Gloves
Welding Leathers (option: thick flannel shirt)
Angel Grinder
Grinding disc, Cut off disc, Flap Disc
1/4 inch rod/ Mild Steel Hot rolled (HR)
1/8 inch rod/ Mild Steel Hot rolled (HR)
Wire: Rebar Wire (good for modeling form or fastening)
Sand paper/ steel wool
Solvents, To clean oil off the metal
Finishing materials, Primer, Sealers/Paint.
Other materials for skin and attaching materials (Wire, string)

Create a label for your project with these specifics:

Name:
Dimensions: HWD
Materials:
Year Complete:
Course:

Tape your label to your project. Use masking tape so that it will not harm your project.

Caution:

Protective Gear required: Wear appropriate eye protection, clothing and shoes while welding. UVs from the welders can burn skin and damage eyes, much like the sun, not to mention the metal will be hot after a weld. Use leather welding gloves while working around the metal shop. Assume that metals are “Hot” before picking them up. Be careful when picking them up.

Fumes: Be aware that some metals can be hazardous and some are not compatible with others, In other words lets stick with what we know, steel. When welding, stay away from anything covered in a zinc allow, such as galvanized metals. Galvanized metals can be potentially dangerous, as the zinc will form a thick vapor that is hazardous to our health.

Research:

Lee Bontecou
Eric Stephenson
Alexander Calder
Robert Klippel
Lynn Chadwick
Sol Lewitt
James Turell
Rebecca Horn
Antony Gormely
Rachel Whiteread
Richard Serra
Joseph Beuys
Bruce Nauman
Tony Cragg
Piet Mondrian

Project Gallery

September 26, 2014August 31, 2015

Body Art: Plaster Casting and Mixed Media

Prologue:

The human body and its components allow us to understand facets of identity such as gender, sexuality, race, and ethnicity. Slight gestures can represent emotion, mood, and intent. Subtle and extreme alterations of the body, such as hair, skin, and clothing can suggest alignment with or rebellion against social conventions and to express ideas to others. Many artists explore visual expression through representations of the body and by using their own bodies in their creative process. The poetry of bringing objects together to suggest or make strong statements can sometimes be elusive. Not only does one need the right objects to build a dialogue, a keen observation of craft is important in developing a poetic voice that does not distract the artist intent.

Mission: (Project Description)

Create a sculptural form using elements from the human body and at minimum one other form. A cast component, plaster or other material, of the body will be a basis for their research. Other materials are not only encouraged but expected in the final solution. The project should meet the following criteria:

Must use cast body element in final composition.
Cast body element may be intentionally altered.
Must use other materials (Mixed media).
Develop a poetic intent.
What is the work about?
Develop an artist statement.

Challenge yourself and the project.

Project grades gain much from the thought and “Effort” put into them, not to mention pushing the envelope. Common references include hands and feet, this is the norm. Challenge this project by developing another component or area of the body.

This project should include a concept that incorporates the body or a component of the body along with other materials. The design and fabrication should be built in a manner that illustrates your concept, experimentation, craftsmanship, and a cohesive aesthetic.

Sketchbook Assignment:

Sketches of your ideas should be rendered before and during sculpting. A minimum of five pages should be dedicated to this sketching component. In addition, find a minimum of four sculptures or objects, referencing the body, that inspire you. Printed images of these sculptures or objects should be placed in your sketch book. Your sketch book will be graded along with your project.

Strategies and Techniques:

Research: Contemporary and historical “Body art”, across cultures.
Collect: Print and collect imagery and text for your research. (Place images in your sketchbook.)
Brainstorm the possibilities. Make a list in your skeet book!
With what body part will you develop your concept.
Explore the idea of multiples.
Sketch ideas in you Sketchbook. 5 pages of various ideas required.
Mold Making: Mold material: Flexwax 120. Team effort. (3 per team works well)
Casting: Plaster casting of your body component or cast in another material.
Experiment: Plaster carving, cutting, fitting and affixing materials.
Mining materials: Find materials and components to add to your castings.
Other techniques: welding, wood, sewing and other fabrication methods should be considered
Research and observe fabrication aesthetics and methods.
Learn how things work and how connections are made.
Dreaming, concocting, drawing developing: (Sketches)
Experimentation, Experimentation, Experimentation
Connections to the body: How do components attach, from the inside/on the outside?
Making Sense: Make it believable.
Finish: Less is more: Student should consider allowing the material to show off its austere-simple aesthetics. If paint is used, it should be used strategically to enhance the concept/aesthetic. KIS, Keep it simple.

Craft:

Functional Aesthetics: Goals: Engineering and concept, clean form, well crafted fabrication and technique, uniform aesthetic, a command over the material: Excellent Craftsmanship should be a major goal. Bad craftsmanship can weigh heavily on the success of a project. Focus on a refined form. Bad craftsmanship will easily distinguish A/B work to a C or below. Make your fabrication skills count, projects should not fall apart during critique or grading.

Tools and Materials:

• Sketchbook
• Plaster
• Scraping, carving tools
• Dust Mask/Particulate Respirator
• Safety Glasses
• Objects for pattern, Body
• Mold materials
• Wood (optional)
• Wood Shop
• Metal (optional)
• Adhesives, fastening devices
• Rubber or Latex gloves (optional)
• Welding Eye Protection
• Welding Gloves
• Angel Grinder
• Grinding disc
• Cut off disc
• Flap Disc

Create a label for your project with these specifics:

• Name:
• Dimensions: HWD
• Materials:
• Year Complete:
• Course:

Tape your label to your project. Use masking tape so that it will not harm your project.

Objectives:

Method: Planning, Cutting Safely, Building techniques and strategies
Material Characteristics:
Three-Dimensional form using the human body
Mold Making Process: Wax (Flex wax)
Casting Plaster
Fabrication techniques: Pre and Post Casting fabrication, Object Installation
Structural and Aesthetic qualities
Finishing Techniques
Sensibility to form: Good design, clean aesthetics
Integrity of the artist to their craft

Caution:

This process uses chemicals and materials that might be dangerous for some people. Read the MSDS (Material Safety Data Sheet) for questionable materials. Please use a respirator while using chemicals such as plaster. A dust mask may be used rather than a respirator. The respirator will provide better protection.

Artist Inspiration:

Project Examples:

September 26, 2014August 31, 2015

Mold Making: Encapsulated Rubber Molds

Mission: (Project Description)

In this project the student will be introduced to the process of encapsulated mold making. Rubber will be used as an interior jacket to collect surface and surface detail. A plaster exterior mother mold will be used to establish structure for the flexible mold. Rubber is an elastic material that can pick up very minute detail. Its flexible quality allows it to be pulled and stretched to cast challenging objects that can not be cast from a more rigid material. The mold material can be used numerous times with many different materials, respectively.

Objective Guidelines:

In this project the student will be asked to create one encapsulated mold of an object that are student found or instructor determined difficulty and scale. A well crafted mold and it’s ability to function (creates clean multiples) will be the main objectives.

Scale:

Objects that fit in the palm are fair game for this assignment. See the instructor approval of larger forms. Rubber materials may be purchased by the student if forms require more rubber material.

Collecting and inventory:

Bring in objects to choose from. Complex forms, miniatures, toy parts, jewelry, small machine parts, containers, etc.

Pour Spout:

MUST BE IN PLACE for usability: This has to be a functional mold for plastic and wax. A pour hole must be planned and in place before rubber processes and materials are in motion.

Craftsmanship:

The objective here is to create well crafted-functional mold. Pay attention to the aesthetics involved in this process.

Sketchbook Assignment:

Draw your objects, develop plan view drawings that will assist in creating the mold. Plan pour hole, with flanges. Plan for mold keys in rubber jacket and mother mold.

Material/Structure:

Rubber and plaster components should work well together, So that they do not damage one another while in process.

Encapsulated Rubber: Process Steps:

Two part Mother Mold/Two part Rubber Jacket:

Find horizon line of pattern object
If pattern is porous, apply sealing agent
Pour spout (funnel) must be planned and added in the next steps
Venting for casting material must be planned and added in the next steps
Note undercuts, voids and trouble spots in pattern, “clay_up” to accommodate
Build “clay-up” to object horizon line on work board
Manage undercuts, voids and trouble spots in pattern, “clay_up” to accommodate
Leave margin for rubber flange/keys, plaster mother mold and keys
Keys may be placed/cut in clay up at this point (for Rubber and Plaster)
Cover object with plastic and clay blanket (1/4 inch thickness)
Build “Flange” at top of Pour spout (funnel)
Build “Jacket” keys on clay blanket if needed
Release agent may be applied to clay (Petroleum jelly, Oil soap)
Clamp coddle boards around clay up and pattern
Seal potential leeks, seams
Mix plaster to ready
A flick coat of plaster should be applied if detail is compromised
Pour plaster over pattern blanket area
Level to one inch over highest part of pattern
Tap sides of coddle boards to evacuate air in plaster
Allow to harden
Remove coddle boards
Remove plaster mother mold half
Determine deepest area of mother mold
Establish a pour hole (Funnel for rubber)
In other deep areas of mother mold, venting will need to be established (Straw vents)
Apply release agent to plaster (Petroleum jelly, Oil soap)
Add venting and funnel
Remove clay blanket and plastic
Note clay weight for future reference (Rubber material may be determined by this)
Note clay volume for future reference (Rubber material may be determined by this)
Keys for rubber should be placed/cut in “clay up” at this point
A trench around the pattern works well (loop tool)
Clean any debris from pattern and clay areas
Apply release agent to pattern
Replace plaster mother mold half with venting and funnel
Replace coddle boards
Secure mold (Straps)
Seal potential leeks, seams
Determine amount of rubber material needed
Prepare rubber by product direction
Pour into funnel until vents and funnel are level
Allow to settle, add more if needed,
Allow to cure
Flip first half of mold with pattern and clay up
Remove clay up
Do not separate pattern and rubber from mother mold
The first mother mold half will preside as the basis for the second half
Keys should be placed/cut into plaster at this point if not previously placed/cut
Follow steps from above for second half

Reminders:

Apply release agent to pattern
Seal potential leeks, seams
Review, Review, Review: Review that processes have been completed
Gently separate mold halves at seam line
Remove pattern and prep for use

Tools and Materials:

• Eye Protection/Safety Glasses
• Sketch Book
• Clay Tools
• Fettling knife
• Trimming Tools (Various sizes)
• Loop, wire and ribbon tools
• Wooden modeling tools
• Needle Tool
• Calipers
• Canvas (approximately 2ft x 2ft)
• Plasticine (Oil Based clay)
• Clay -Water Based clay (Optional)
• Wax tools
• Dust Mask/Particulate Respirator
• Pattern
• Mold materials: Plaster and Two part Rubber compound (Pourable)
• Release agent: Petroleum jelly
• Release agent: Silicone spray
• Release agent: Oil soap (Optional)
• Drinking straws for vents
• Clamps (4)
• Materials for coddle boards)
• Wood Shop
• Measuring Tape
• Meal Ruler
• Rubber or Latex gloves (optional)
• Ratchet Straps, rubber straps

Create a label for your project with these specifics:

• Name:
• Dimensions: HWD
• Materials:
• Year Complete:
• Course:

Tape your label to your project. Use masking tape so that it will not harm your project.

Objectives:

Method: Planning, techniques and strategies
Material Characteristics: Plaster and tin-cured silicone rubber compounds
Mold Making Process: Encapsulated Rubber Molds
Volume: HWD
Mold Gating/Sprue Methods
Wax Casting Process
Successful Casting
Fabrication techniques: Mold fabrication, Object duplication
Functional and Aesthetic qualities
Sensibility to form and craft: Good design and Clean aesthetics
Integrity of the artist to their craft

Evaluation:

Work ethic: Participation in and out of class
Scheduling: Students stay on task, project finished by deadline, critique.
Well Engineered and Functional mold for long term use.
Craftsmanship and aesthetics: Well crafted mold with well crafted “Clean”castings.

Caution:

Some materials used in this project are toxic. Please observe the Material Safety Data Sheet (MSDS) of materials that you will be exposed to. Be aware, if you notice an allergic reaction such as skin or eye irritation as a result of use of these materials, please inform the instructor and seek health services. Eye protection and rubber gloves are mandatory during the use of these materials. Some materials have MSDS information online. Work in a well ventilated area.

Uses:

Wax patterns: Wax castings in preparation for lost wax casting.
Plastic casting: Prototypes or finished castings.
Resin casting: Prototypes or finished castings.
Ceramic: May have some ceramic applications.

Supplemental Videos: YouTube Demos: marquezart.com

For a quick preview or review of this process please visit the YouTube channel marquezart.com:

This series of supplemental videos are time lapsed to give an overview of the four part encapsulated rubber mold making process. They serve to assist in learning the process as a component of demonstrations in a tutorial setting. Some simple mold making experience is suggested before taking on this challenge. There is much to learn from experience.

Actual mold making time for a four part encapsulated rubber mold will vary with the pattern and mold maker experience. This particular mold took approximately four days once you consider waiting times for materials to cure.