Beginning of "The Anatomy Lesson"

Created in 2001 and depicting a nineteen part anatomical dissection sequence, these paper dolls are finally being developed into a shadow box piece. They were drawn on a lithography stone at the University of Wisconsin and printed with the help of Lithography Professor and printmaking master, Jack Damer. Some may recognize the dolls from my design of Oneiroid Psychosis' 2001 release, DREAMS (with pollutions when virile). I was never satisfied with half the dolls in the sequence, and so all nineteen sat, tucked into a flat file drawer.

In the long version, the paper dolls become more skeletal towards the end of the sequence, and I always felt they weren't projecting the right mood. I'm glad a shortened version of the progression got printed in DREAMS, but I didn't feel confident enough about the end stage dolls to commit to a shadow box. Over the years I took the nineteen out from their drawer and tried different arrangements, different approaches, always feeling there was some potential.

Recently I have decided to move ahead and use the first ten dolls in the series. The progression feels strongest when the dolls are their most subtle. Dolls #11 and #12 will be framed separately, as they work better as individual images. The rest of the dolls...who knows? For now they return to the flat file. The shadow box itself will be of simple design, with a bronze title plate. The piece will be called The Anatomy Lesson and will be finished early 2017.

Planning the arrangement and construction of The Anatomy Lesson.

Detail of some of the lithographic paper dolls in The Anatomy Lesson.

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 the Investment Mold for "The Ephemeral Knot".

I was a bit worried about how the arm would turn out because of how much bronze was used. If a metal sculpture is too thick, the cooling process can cause cracks or collapsing. Prior to investment, I thinned out what wax I could from the underside, but much of the sculpture had to be thick for future tapping and bolt placements. But everything formed well, and I'm really pleased with the level of detail.

Detail of the rough bronze.

Starting the removal of the investment.

The majority of the investment removed. There are some bones and pine cones for future pieces.

The arm removed from the sprue tree. There is still quite a bit of finishing work to do.

Main Sculpt for The Ephemeral Knot Completed

The main clay sculpt for the upcoming bronze, The Ephemeral Knot, is finished. The completed piece should invoke the wax anatomical models of Museo di Storia Naturale "La Specola" in Florence, Italy, which I was fortunate enough to tour.

The piece is a not too subtle reminder of childhood mortality. The obviousness is hopefully excused- for with classic form comes classic symbolism.

The next step is to make the mold for the investment wax.

Gratitude goes to Rebekah and Leif Hansen, for allowing me to life cast their daughter Nova's hand and arm. And thank you, Nova.