The story of any bronze sculpture has its beginning long before the artist ever begins to mold the clay. The sculpture-to-be begins as a mental image in the artist's mind. This image may appear as a sudden concept or may be the subject of a prolonged thought process.
So that bronze may be created in accurate proportion and detail, I devoteconsiderable study and research to the subject. This is particularly true with human and animal subjects. After I make initial sketches, I have the opportunity to alter the design and ultimately create a picture of my final plan for the sculpture.
Depending on the size and complexity of the sculpture, construction of an armature may be required. The armature is a supporting structure around which the clay is applied. It can be made of wood, metal pipe, or other sturdy material. I use pieces of wood along with a variety of stainless steel rods and wire of various diameters. These materials allow the creation of virtually any required shape.
My initial stages in modeling with the clay are rapid and rather crude. The sculpting becomes progressively more deliberate and slower as more and more detail is required. I can make significant alterations in the developing subject when referring to my sketches. An animal's leg may need to be altered to create more action. I can go back and alter my original sketches until I am satisfied. When the basic configuration is satisfactory and reveals balance, I leave the piece alone for a while for further study and self-criticism. It can be viewed from any angle to show errors and problems.
Attention is now given to anatomical correctness in location, size, shape, and appearance of muscles, whether on animal or human. This process requires a great deal of time. When this is complete to my satisfaction, I begin the process of "dressing" the body with small pieces of clay. Clothing is created in individual layers. Detail with buttons, clothing and texture follows. On animals, the texture of feathers or hair must be created to produce the realism in the final bronze. Attention must be given to the precise direction that the hairs lay on the body for accuracy. This is very time consuming, and requires considerable patience.
One of my most difficult problems is knowing "when to quit". One can over-work a piece to the point of ruining it. I have to take time out and again walk away from it for a few days. At this time I decide if the sculpture will receive a limited edition, and if so, what the number will be. A limited edition number establishes that only that number of castings will ever be made. When that number is sold out, the mold is destroyed. Each bronze has its number placed on it. I usually establish low editions for my work. This is strictly the artist's preference. I place no greater value on the lower number in an edition than on a higher number.
At this time the completed sculpture is carefully transported to the Foundry. Technicians make a careful and extensive evaluation to determine the procedure in constructing the mold(s) that will be required. The story at the foundry is a long one which may cover many weeks. The development of the mold, the casting process, and the tedious and labor-intensive work that is required following the casting helps account for the cost of bronze sculptures.
I communicate closely with the foundry throughout this period. Very close attention is given to all details as the casting is completed and the patina finish is applied. With patina complete, the bronze is attached to its specially designed base.
The story of the bronze's construction and creation by the artist is now complete. Now it will create a new story that will develop as it finds a place in a home, office, or public place for folks to enjoy.
