Remaking Bronze Plates , New Title

There was a sinking moment upon finishing my newest sculpture when I realized that the title and name plates just weren't working for the piece. The central image had gone through many changes, enough where the original title, "All Horizons Lost, Flesh Forever Found", didn't reflect the work any longer. The alliteration in the title always bothered me too. But my main issue with the plates were the rough clunky appearance of the castings. I had so much trouble this year with my investment molds cracking in the kiln and the bronze flashing out. I had tried my best to salvage the plates, but in the end the quality just wasn't there. Maybe over a dozen hours of work lost. After some pacing of the studio, I decided to take the time and effort to remake them. The piece was given the new title "Beneath the Remnant Veil" and new waxes were designed, again using the hearts on either side of the title plate.

The University of Wisconsin Foundry doesn't do ceramic investment, a far superior technique that would solve all of my casting issues. I've been thinking about working with someone to ceramic invest my waxes for a while now, and thought this a small enough of a project to be a test of sorts. I had the great pleasure of working with Jeff Adams and his InBronze Foundry in Illinois and will be working with him for all of my investment castings in the future. The bronzes came out beautifully, superior detail and surfaces than I was able to do.

Finishing the edges of the new title plate.

The finished remade bronze plates before applying patina.

Dissolving Liver of Sulfer for the hot patina.

The Liver of Sulfur patina applied after heating the bronze with a torch.

Comparison of the title plates. The redesigned wax (top), the new title plate (middle), and the original title plate (bottom).

Comparison of the new title plate (top) and the original.

Comparison of the title plates. The original wax (top), the new title plate (middle), and the original title plate (bottom).

Frame For Upcoming Sculpture

The finished frame for my next sculpture. Every element has been sculpted and fabricated by myself. Referring to Gothic design and ornament, I was striving for a reliquary feel. This will be my largest piece, with a standing height of 3' 10".

Originally titled "All Horizons Lost, Flesh Forever Found", the center imagery of the piece has undergone so many changes I am renaming the sculpture. It will be now called "Beneath the Remnant Veil". I am working on the new bronze title plate at the moment.

The top of the frame for "Beneath the Remnant Veil".

The frame's under structure and basic paneling.

Detail of the paneling.

A Basswood carving for the front lower panels.
 

The frame with all of the ornament on, as well as the red bole, starting to be gold leaf gilded.

The finished gilded frame. The gold leaf has been toned down with a thin layer of oil paint, and clear coat applied.

A detail of the frame's bottom ornament.

Detail of the front panel ornament.

Detail of the side panel ornament.

Detail of a column top.

Detail of the top tracery of the frame's opening.

Detail of side top spires with small crockets.

Detail of the top crockets.

Detail of the top finial.

Bronze Plates For "All Horizons Lost..."

The title plate for the upcoming sculpture, All Horizons Lost, Flesh Forever Found, is 13.5" long x 1.25" wide x .25" inches in it's bronze state. The length and relative thinness of the plate made it difficult to realize in metal using the techniques available to me at the foundry. My first attempt left the plate warped and twisted beyond saving. For the second try, I waxed an 1/8" piece of basswood to the back of the wax pattern plate, making it thicker and giving the pattern rigidity. I knew I would have to grind it all off later, but it made a huge difference in how the second title plate came out. As always, my apologies for the cat hair.

Detail of the front title plate for All Horizons Lost...

The second attempt at the title plate, after having removed the investment mold. The casting is still a little rough, but not bowed and twisted.

The extra thick title plate, roughed out and sandblasted.

Using a cutting wheel to carefully split the plate down to its proper thickness.

The plate successfully split with the extra material removed.

Back at the studio, filing down all the flat surfaces.
 

The back name and date plate getting touched up with the TIG welder.

The plates after the bronze has been heated in a kiln up to 1100 degrees, which gives it a black patina. This is then rubbed off in areas to get back to bronze.

The finished title and name plates after rubbing the heat patina out and clear coat.

Detail of the posterior heart on the title plate.

Detail of the anterior heart on the title plate.

Opening Investment Mold

It was great to be outside in a sunny warm Spring evening opening the mold for the plates for The Ephemeral Knot and All Horizons Lost... But as soon as I started removing the investment, I knew my pieces were in trouble. Maybe the metal was poured too hot, maybe my investment mix wasn't right, but there was an astounding amount of flashing. Some of the castings can be salvaged, but some will have be redone.

The investment mold outside the foundry. I couldn't wait to see how the castings turned out.

After I removed most of the investment from the castings, it was obvious the pieces had a huge amount of flashing. This image is of the long All Horizons Lost... plate.

The opossum mandible still with a bit of investment around it.

The investment tree with the investment removed. Look at all that flashing- I just felt sick at this point. It's as if I brought this up from the ocean floor.

The All Horizons Lost... plate. What a mess. Besides the flashing it is warped and twisted. I tried to make it thinner than I usually do and I think that contributed to the distortion.

The ugly seven. I think I can salvage most of this, but the long title plate for All Horizons Lost... will have to be redone. There are many hours of grinding and finish work ahead of me.

Foundry Pour, April 2016

Below are pictures of the last bronze pour at the University of Wisconsin foundry. I poured my investment mold for the title plates of The Ephemeral Knot, and All Horizons Lost, Flesh Forever Found, as well as a few other waxes for future pieces. Observing this time was a group from a local high school.

Foundry pour, April 2016.

Setting up the molds with the pour team.

Practicing the pouring order of the molds.

Sculptor and Art Metals instructor Peter Flanary loading the forge with bronze. Take a look at his work HERE.
 

Bringing the bronze crucible out of the forge. A group from a local high school was observing.
 

The pouring of my investment mold.
 

Pouring other artists' investment and sand molds.

The remaining bronze is poured into ingots.

Sculpture Plates and Miscellaneous Waxes

A sprue tree recently completed. Title and back plates for an upcoming large bronze sculptural piece entitled All Horizons Lost, Flesh Forever Found. Also the remake of The Ephemeral Knot title plate, and some other wax objects for future pieces.

Three sculpture title and name plates with a wax vertebrae and opossum manible.
 

A detail of the All Horizons Lost... title plate. Anterior and posterior heart views are sculpted on either side. This is the longest bronze plate I will have made, at 1.5" x 14".

The All Horizons Lost... plate on the sprue tree.

The Ephemeral Knot remake wax and the All Horizons Lost... name plate. Also a pine cone experiment. The pine cone should burn out into ash within the kiln.

A few small pieces for future sculptures. A leaf experiment, a vertebrae, and an opossum mandible.

The wax tree now in it's investment mold, waiting to go in the kiln at the University of Wisconsin foundry.