Working on a large scale means returning to the same form everyday for months. So you need to be sure about the design.
I’m really pleased with the scale of the Marking Time Sculpture. It is within the human scale range so that the embrace and eye level of the dragon and the kite/guardian’s wings will feel very personal.
Marking Time scale model.
Osprey Studios has a flexible layout and a solid floor so that anything up to 6m x 3m can be built there which keeps costs down.
The base foot print was painted on the floor in red and the outline of widest/deepest edges painted in blue to check that there will be space to work around the forms. The largest section is set on blocks to give the height of the eye-line. The other 2 sections are on wheels for easier access. The base footprint is painted on the boards in blue.
I always miss my wonderful Volunteers from past projects at this point. But it is a lot easier to be building in my own studio. Advancing decrepitude means some of my systems for moving heavy loads around lack dignity. And I can loose myself in the curves.
Areas are kept wrapped in plastic to keep the drying even. When you add new clay you need to allow time for the water to re-balance itself down the form. A large piece will be holding gallons of water.
I am building the armature of the piece. The final surface will be added to it so I need to keep the clay at the best stage of hardness. Scarva ES50 Crank holds its water really well while still being very strong at the leather-hard stage.
I will be adding a lot of deep texture and modelling so these armature walls are very thin. In places the lines and curves of the final form are showing.
There is an internal support structure made of clay that will stay in place during the firing. It will help to support the sections when the sculpture is cut up so you need to plan them well in advance. Other materials like foam and wood are used inside just long enough for the clay to stiffen. External supports can be anything. They will need constant adjusting to accommodate shrinkage. I have a treasured collection of heavy-duty props and oddly shaped bits of wood and memory foam.
The lines of the supports can be distracting.
2/3 of the way up. But the forms are not complete, especially width-wise. You see the movement starting in the curves of the central space. I’m using the sound-track from The Legend of Korra to keep the theme consistent across the weeks of work.
Rebecca Buck 