Sculptural Jewelry Process and Possibilities
I've been exploring my journey as a sculptor by working in metal clay, ceramic clay, paper clay and polymer clay.
Each medium offers strengths and challenges.
At the moment I'd say I love the physical act of sculpting in ceramic clay the best for its ease of addition and subtraction, of laying it down and picking it up and perhaps not least, for its cost efficiency. I'm not afraid of bungling a project because its basically mud. Not expensive to buy, compared with the other media. Fairly locally sourced so it should be less impacted by supply chain issues and import fees.
Its flexible and fun.
However, I don't have a kiln for ceramics, which usually fire at a higher temperature than my silver work, so I can't actually finish my ceramic clay pieces properly at the moment. My jewellery kiln is not designed to fire at it’s higher temperature capacity too frequently, so the risk of damage is a factor. I can look for kiln space to rent locally, but can’t afford that outlay at this time.
I’d love to buy my own kiln for firing jewellery as well as larger sculptures. Kilns are expensive. However, the ease and fun of sculpting in mud is offset by the costliness of the finishing process. I'm just not there - yet!
It is a big goal of mine to have a kiln so I can have a full cycle of control.
I even know the glaze techniques I'd like to try. Watercolour type techniques and products that create a beautiful, painterly feel.
Having a kiln would enable me to sculpt in larger sizes also which really peaks my creative curiousity and inner drive. So many possibilities!
Grizzly Bear Portrait Cast in Polymer Clay, treated to a patina that emphasizes texture and character. Shown in hand to help visualize its size. I’ve so many ideas for how to use this as a component in jewellery for the body or the wall.
Original ceramic sculptures of Grizzly Bear and Wolf portraits. These are being used to create a mold from which a variety of media can be cast.
Grizzly Bear Portrait in Polymer clay, shown “in the wild”.
At this time, sculpting in mud, allowing it to dry then making a mold of it with two part silicone material offers me a good solution.
Once the mold is made I can cast many different media from white gypsum cement (love this!), polymer clay, metal clay or even more ceramic clay.
Casting in the white gypsum cement creates a finished piece that is closest to ceramics. It can be painted, given a patina and sealed. This material is porous but permanent and archival. Its used in various art restoration techniques. I love its pristine white nature and also love exploring techniques that bring out character through paint and finishes. Once sealed the piece is no longer porous.
Like ceramics, a cement piece is vulnerable to breakage if dropped or abused. However if the little art piece is handled with some care it should last lifetimes.
There are so many possibilities and opportunities to use the cast pieces in a variety of media to create endless expressions, whether as jewelry or as part of another type of art.
I must say that working small is an incredibly fun challenge and it feels like endless opportunities to tell stories. And afterall, telling our stories is what it’s all about. Expressing our passions and interests, cherishing personal stories of life and loves is part of being human.
Wolf Portrait Sculpture cast in Polymer Clay and treated to a patina to reveal textures and character. Shown in hand to visualize its size. Again, so many possibilities for this little piece!
Wolf Portrait Sculpture cast in Polymer Clay shown in the Wild!
I finally gave in to my love for sculpting when I acknowledged that I simply didn’t have the energy to paint for the hours it takes to create a meaningful series or collection - especially as a business (which is what I need in order to support my family).
I still love painting but frankly, it hurts. Joints and muscles complain, the damaged disc in my back creates havoc and incredible debilitating fatigue derails not only my studio but my life in general.
I found myself burned out, discouraged and uninspired. I had been finding an audience of people who loved my work, people who wanted to buy and commission and collect. This was a thrill. I was beginning to feel like I finally found myself.
And then… burnout and a growing illness that culminated in surgery while also trying to look after my daughter who was newly diagnosed with a debilitating condition.
Now, after a long period of trying to recover and be patient with myself I’m finding satisfaction in sculpting small animals and telling heart stories. It feels much closer to my own heart to create tiny sculptures that draw one in for observation and contemplation; for the sake of wonder and love. This process offers me grace to grow slowly, to explore the realms of stewardship and offer worship in the work of my hands and heart.
Horse portrait sculpted in fine silver metal clay and fired in a kiln at 1650* fahrenheit to completely scinter the metal and form an heirloom gift for a horse lover. This piece more closely resembles my first horse, a Percheron x Paint with thick, flowing mane and beautiful bone structure.