No Kiln. Sculpt Anyway
I have been stuck in a loop of wrestling with my media. I know that I want to sculpt, I know that I love sculpting in clay, especially ceramic clay. However, I do not have a ceramics kiln and I cannot afford to buy a kiln in which to fire my clay sculptures.
Small bronze wolf portrait jewelry focal piece, awaiting firing in the kiln, is shown against a sculpted forest backdrop. © Renée Fukumoto
This small mixed media bas relief horse sculpture captures the high energy within a wild-at-heart horse. © Renée Fukumoto
I am considering joining our local Pottery Guild because it will offer me access to Kilns and the education for learning to use them. Meanwhile what I do have is a microwave Kiln and a microwave that I have dedicated to using in the studio. This will of course limit the size of the pieces I can fire and I am sure there is going to be an enormous failure rate for the pieces that I fire.
But I am really looking forward to beginning this journey because it's going to be interesting and fun. And I've already discovered there is no end to the things that I actually want to sculpt. I can see my way forward much more clearly with sculpting than with pretty much anything I have used in terms of media to this date (and that's a lot of years).
Along with sculpting small things in ceramic clay so that I can use my microwave kiln I will continue to use paper clay. Air dry paper clay is such a versatile medium. It is capable of extraordinary detail and the development of emotion especially when I use it in a way that permits the use of pallet knives and a icing like texture.
When I use the air dry clay over a larger surface such as Ampersand Aquabord panels, I can create in layers and textures, develop loads of depth incredible, detail, projection, deep dimensionality. The surface of the air dry sculpture is then very absorbent and I can layer on washes of color using acrylic inks or watercolors or perhaps oils though I am not sure if this would be detrimental to the surface over time. I really enjoy using watercolors and acrylic inks though. I have not yet finished the surface once the layers of colors are on but I'm considering using cold wax because I like the subtle sheen and depth that it adds to a piece while being very protective against humidity in the air.
These bas relief sculpted panels can be framed and I plan on adding dimension to the floating frames as well. If they are a cradled panel they can also be treated on the edges so that the edge is consistent with the surface and therefore not need a frame at all. This versatility is a wonderful thing and I love how the edges can be integral to the overall work of art.
As I set a course for moving forward with these materials I have selected a theme that I call dreams and legends to be the guide for the series that I create. I am not limiting myself to one particular expression or one particular animal but I will be using animals as symbolic expressions of human emotions and connections as well as celebrating the animal itself. The dimensions of enjoyment that I get from creating this series will hopefully be reflected in the dimensions in which they can be enjoyed by others.
As I begin to develop this series of sculpture both in relief and in fully three dimensions, I plan to grow my skills in making molds of my work so that I can create cast reproductions in a variety of media. I fully admit my goal would be bronze but I know the process of having bronze casts made of one's work is very expensive and until I have a collector base willing to invest I probably won't be tackling that on my own. But I can't see casting in hydrocal which I have done already on a very small scale as well as casting in cold poured bronze. Cold bronze is actually a resin based medium with very fine metal particles in it. When the particles are suspended correctly in the media then they form to all appearances a bronze cast piece. The biggest drawback for working in any poured resin is the fact that it is toxic and I don't have a place to work with this kind of material at this time. It would have to wait until I have a studio separate from the house. Of course that's the goal right? As we look for a house to move to we are hoping to have property an acre? 2 acres? We'll see, God willing. But I still have the vision of a little Studio Cottage at the edge of a forest. It's actually very motivating and comforting to think of this. In such a space I can get up to all kinds of things that I cannot do in the house because of toxicity and fumes. I cannot subject my daughter who's health is already fragile to exposure of materials that can cause her health to deteriorate. Especially neurotoxins.
So at the moment I think my cast reproductions will be in hydrocal which is an archival type cement fine white cement slash plaster textured material I can paint and finish these reproductions in any way I desire because the material is absorbent and it can retain as much detail as I can put into the original piece. I would also like to cast in liquid paper mache. I have a product called licochet now and I have not yet used it but I'm excited about the possibilities for this material as I think I can create reproductions that are very affordable. Perhaps these reproductions will be good for Christmas gift-giving, decoration etc.
I will be holding materials such as silver and bronze in reserve for very special collections probably after I start developing a bit more of a collector base because they are costly let's face it.
I have big dreams, big goals and I need to be patient and persistent to achieve them.
Thank you for joining me on this journey I really appreciate your company here.
~ Renée
