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How Do You Spell Relief ?... p-l-a-s-t-e-r

5/29/2013

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Sampling of objects for creating marks & textures


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Experimenting with textures


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Textured clay relief


     Three years ago I participated in my first 10x10Brunswick Art Show, and I am currently getting work ready for this fall's event. The show is a great fundraiser for the Arts Are Elementary Program that benefits the students in the Brunswick elementary schools. All of the artwork is presented in black metal 10x10 inch frames, and I decided early on that I could create plaster reliefs that would be compatible with this format. 
     The first step I take is to amass as many different objects as I can find that would create interesting textures or marks when pressed into clay. Then I roll out a test slab of clay and experiment with the objects. When I come up with an idea I like, I roll out a half inch thick slab of clay that is just a bit bigger than the final size of the finished relief, and press my design into the surface (keeping in mind that the image will reverse). I avoid making any marks that would create undercuts so the clay can be easily removed from the poured and hardened casting plaster. After cutting the slab to final size, I place it on a board covered with plastic wrap (to keep the clay from sticking) and enclose it with framing boards.
     Once the slab is framed, I mix a batch of casting plaster (making sure to tap out all air bubbles) and pour it into the frame to a depth of about 1/2 - 3/4 of an inch. After the plaster hardens, I remove the framing boards and gently peel the clay away from the plaster cast. If done carefully, the clay slab can be used for several casts. I then remove the clay residue form the plaster relief by it rinsing under water and brushing it with a soft bristled brush. After the piece has dried, I seal it with an acrylic paint -  usually either a graphite gray or titanium white mixed with titan buff. (Plain gesso is another option.) The piece is then ready to be mounted in foamcore and framed. A relief for a good cause.
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Clay relief framed, ready to pour plaster
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Clay removed from plaster relief
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Plaster relief completed, sealed and matted
                                          * Additional relief images can be viewed in the Sculpture section of this website.
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From Paper to Pedestal ... Drawn to Sculpture

5/16/2013

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     'Joinery Juggler'


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     'Femme Verte'
       A sculptor can travel down an interesting road when translating a two dimensional drawing into a three dimensional form. Generally, the construction of a piece goes pretty much as planned in a preliminary sketch. Sometimes there are subtle variations made during the process... size relationships, the positioning on a base, the tilt of the head. And, sometimes, there can be significant changes. These can be the result of the challenges presented by a specific medium or simply because of the nature of the creative process. The artist's mind is in a continual state of problem solving and an original idea can morph into a myriad of different forms from the moment of conception right through the various stages of construction. This can be both a challenge and a benefit. There may be an initial frustration at the often mercurial nature of the process, but then there is the satisfaction achieved in the revelation of the finished piece.  
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                            'Guardian'
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                        'After Dark'
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    Author

    Cynthia Smith, Maine artist, originally from Connecticut. Taught art at secondary level for 35 years, retired in 2004. Sculpts in bronze, wood, stone, clay & plaster. Her work can be seen at several mid-coast Maine galleries and shows.

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