List of Monumental sculpture projects 2015

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Thursday, 21 May 2015

Sunday Robot shows how to cut a tree (using axe) 2015
first selection for XiNing -

2015中国西宁“昆仑神韵·天工开物” 奖城市主题雕塑大赛初评入选通知

Wednesday, 20 May 2015

TianGongKaiWu- XiNing 2015中国西宁“昆仑神韵·天工开物” 奖城市主题雕塑大赛初评入选通知
first selection for XiNing -

2015中国西宁“昆仑神韵·天工开物” 奖城市主题雕塑大赛初评入选通知


2015中国西宁“昆仑神韵·天工开物” 奖城市主题雕塑大赛展开初评工作

2015-5-20 10:44| 发布者: admin| 查看: 66| 评论: 0

摘要: 2015中国西宁“昆仑神韵·天工开物” 奖城市主题雕塑大赛展开初评工作 为了更好地扩大西宁城市影响力,营造西宁城市文化氛围,扩大西宁在国内外的知名度,西宁市人民政府联合中国雕塑家协会举办了以“美丽中国• ...
    2015中国西宁“昆仑神韵·天工开物” 奖城市主题雕塑大赛展开初评工作

本次大赛得到了中共西宁市委、西宁市人民政府和中国雕塑家协会领导的亲切关怀,以及西宁市文化广播电视局和西宁市园林局等地方部门领导的大力支持,还有当地机构的积极配合。西 宁市是青海省省会,是中国十大避暑旅游城市,有“中国夏都”之称。夏都西宁,历史悠久,文化灿烂。西宁是国务院确定的内陆开放城市,先后与国内外许多城市 和地区建立了经贸协作和文化交流关系。每年在西宁举办“青洽会”、“环青海湖国际公路自行车赛”、“藏毯国际展览会”、“国际清真食品用品博览会”、“FIST青年电影展”等节庆活动,先后创建了中国优秀旅游城市、国家园林城市、全国绿化模范城市、国家卫生城市,进一步扩大了“中国夏都”的知名度和影响力。通过雕塑大赛以“美丽中国·昆仑神韵”为主题表达和传承昆仑文化的地方人文及自然景观,将为西宁城市增添一个新的景观品牌。同时,也借助雕塑大赛的形式弘扬雕塑文化,探寻城市雕塑建设的发展方向,交流城市雕塑建设经验,研究城市雕塑发展模式及其对城市历史文化、城市建设发展的作用与影响,提高中国城市雕塑在世界城雕建设领域的影响力,丰富城市文化,构建公共艺术氛围。详情请登陆中国雕塑家协会官网(查询。(下图为大赛专家评审委员会评审前会议)




Tuesday, 19 May 2015

wood, cracking, splitting

ave the publisher or who wrote it. It was in a library binding. I copied a number of sections from it, years ago. This is a wood carving group that has a lot of info and had a number of totem cravers in it. Here is a book source for most things in wood. Another book on Totem and mask carving by sterling Publishing Allan & Gill Bridgewater. is a good source for wood working stuff and always has some interesting thinks and books for sale.

Monday, 18 May 2015

bronze casting from a rigid model : wood

Bronze Sculpture Casting Tour

"The Wild Hare" Bronze Sculpture by Shelley Curtiss
The process of bringing a bronze sculpture to life using
the lost-wax method is something you'll appreciate after taking
this tour- Enjoy

The Lost Wax Casting Process

Here Shelley Curtiss's original clay sculpture is nearly ready for the foundry. Note the artist is still adding the finishing touches. Shelly Curtiss Sculpture
Most sculptors prefer to work with clay or wax; some however, do use wood and other mediums. Here the finished original clay is now complete. The sculptor will take it to the foundry now, get a bid then begin the first stages of the lost wax process.
The first step can be shocking for some as they begin to decide how this original will be cut up.
In order to prepare the original clay sculpture for molding, it will be dissected by cutting the clay with wire and by cutting the armature with a saw. The armature is what helped support the clay in place while the artist was creating it. Note the registration marks which later in the process will serve to realign the parts.
Shown here are the sections of the original clay sculpture after having been dissected.
Now the various parts of the original are carefully mounted on clay plugs before the rubber mold material is applied. The clay plug later serves as a pour spout for the mold.
As you can see now they begin painting the latex rubber onto the original together with the clay plus that's been added in layers. Notice the shim line that will alter serve as a separation line for dividing the mold in half.
A lock and tab system has been applied (see the edge) so that the mold will be able to be opened and closed securely. Once the rubber mold has been completed, a plaster or fiberglass "mother" mold is applied to the outside which will preserve the integrity of the rubber mold.
The "mother" mold is now complete, the next step is to separate the two halves of the mold and remove the original from inside.
The next step is to remove the artists' original and reassemble the clean, empty mold. Now a way pattern will be poured by building several layers of the hot wax within the rubber mold. A layer is poured, allowed to dry until there is about a 1/4 inch thick wax pattern made of the artists' original. It is very important to note that the wax pattern is a hollow duplicate of the artists' original.
Now the wax pattern is taken to the wax "chasing" room of the foundry. Here much time is dedicated to the restoration of the wax pattern to the exact likeness of the artist original. All bubbles and imperfections are "chased" away in this process.
Eventually there will need to be a way for the hot, molten bronze to funnel its way into a ceramic type mold, shown here the wax pattern is sprued and mounted on a wax cup. The red spures serve as gates and vents later in the process.
Notice the wax trees are then taken to what is known as the slurry room where the time consuming process of building the ceramic shell will begin.
First the wax tree is dipped into a slurry tub and coated. The slurry itself is basically made up of colloidal silica.
While it is still wet, the tree is coated with the first layer of sand which is made up of fused silica. This process takes about 8 days to complete. Each day it is dipped in slurry and once again coated with the silica sand. The silica sand used goes from very fine to coarse beginning to end. Eventually the shell will be approximately 1/2 inch thick.
The complete, dry shell (remember it still contains the wax pattern inside) is placed in the burnout kiln where the shell is cured and the wax pattern is melted out, hence the term "lost wax". Each time another number in the edition is cast a new wax pattern must be made from the mother mold which is again lost in the process.
Now the shell is ready to receive the molten bronze. It is poured at a temperature of about 2,000 *F.
After the bronze is cooled, the shell cracks on its own accord and is manually removed from the bronze. This could also be called the "lost shell" method if casting. The sculpture is now "metal on the floor".
Any gates and vents are removed from each section of the sculpture and the pieces are then welded back together. One can realize the tremendous time and labor involved just up to this point.
Once the pieces of the sculpture have been reunited, or welded back together, the weld lines are then tooled out and any imperfections in the metal are corrected. This takes place in the metal room where the critical talent of the artisan's transforms the parts into a hollow bronze duplicate of the original clay model.
The completed metal sculpture is then heated with a torch in order to make it ready to receive patina.
The patina process is the result of chemical and heat applied in layers. This is an art in itself and requires years of training to master. No two patinas can turn out exactly alike.
It can take anywhere from 8 to 16 weeks for one casting depending how busy a foundry is. In conclusion, remember that as an example if there are going to be 50 bronze casting in the edition, this whole process is done over and over for each number in the edition. They are truly original castings. The only step that can be "re-used" in casting another number in the edition is the "mother mold" in the very beginning. Once all numbers have been cast (the amount of numbers is decided by the artist before casting begins), the mother mold is destroyed.