Four, and What They Did, In Progress.

There are pieces of artwork, once things are in full swing in Studio Stuffsmith, that seem to make themselves as I stand, conducting the players but bystander to the unexpected outcomes.

This is such a piece.

I select this magnificent steel spigot handle, layers of paint exposed through years of weathering the elements, and it sets me in motion. I've wanted to tuck into this particular object for about ten years, and this is the time to act on it. I also mentally take note of a very special object that I'd like to use as a 'chain', but it's too early to think about just yet.

The spigot handle is pretty heavy, so I decide to remove the center struts and therefore take half of the weight with it.

 

The removed element is beautiful on its own, and will be saved for a later opportunity. Rummaging through my trove, I carry my newly-liberated spigot with me to see what transpires.

 

It doesn't take long: a beach-worn aluminum bottom of a soda can, encrusted with fragments of sea life, catches my eye.

 

 I will never tire of this work, for it is this 'click' moment that energizes each act in the studio. The fit is exact, and they speak to each other like old friends.

And so they are lashed together, these survivors of the scrap heap.

 

 

 I then decide to make a chamber inside which I can build my composition, and it must be watertight, as I have the thought to encase the center in resin.

I select four of my precious 'gem' size tintypes from the 1860's, each one-of-a-kind image no bigger than a postage stamp.

Two men and two women, all from the same photo album (family? good friends?), who will also be tied to each other with thread.

 

As a central focus, this is so strong for me, that I stop and begin to search for a title. An hour or so later, I've found it, and it too is one I've hoped to use for many years.

Some epiphanies over the course of making shout loud and clear; others are quiet but no less powerful for their impact. This is the first time I've chosen, instead of tearing my title organically, to carefully cut it out in a 19th-century fashion. I'm a bit shocked this has never crossed my mind to do, with the thousands of pieces I've made in the last quarter-century!

The first layer of resin is poured.

 

The title is laid, and will float, suspended, in the center of the mix.

 

48 hours later, I can continue work on the piece. I drill recesses into the four main compass-points of the spigot in which to set opals.

 

The opals in place. Now to complete the resin structure.

A large mold I made earlier will become the dome of the lens.

It's a delicate operation to join the two resin halves together without air bubbles being trapped.

 

Pressure is applied and the piece remains clamped to set for about 72 hours.

My attention can now turn to the delightful, if extreme, choice of hanging elements: a Victorian-era masonic ceremonial sash, which I slightly modify to feature the spigot as its 'medallion.'

The almost impossible intricacy of the sash seems to lend the focal point a pathos it didn't have on its own. I love them together. After completing the back of the piece (I sadly did not have my camera to record this part), it calls itself done.

To view the finished piece:
http://www.lobue-art.com/four.html

Or, for purchasing information:
http://www.keithlobue.com/product/neckpiece-four-and-what-they-did-2014

 Thank you for joining me!

The Story Without End, In-Progress - Part Two

Welcome back!

'The Story Without End', not surprisingly, continues...

 The sawn-off segment of brass eyepiece is replicated in metal-impregnated resin, using techniques graciously shared over two intensive January days by master moldmaker Jim Hood, to whom I owe tremendous praise and thanks. The last three months have subsequently been spent in my studio learning and honing these techniques.

Using the casting allows me to use an object like this that was previously too heavy to be incorporated into something wearable. It will even allow me to alter the scale of the object, an idea that boggles my mind with possibilities. 

So this is where the front of the pendant stands now...

The lens is removed so I can continue my work on the body.

A spot is recessed in which to mount an extraordinarily beautiful blue chalcedony, which has a very slight translucence.

 The chalcedony in place, with numerals hazily glimpsed underneath.

 Now attention turns to the rear of the pendant.

A gift last week of several Victorian harmonium knobs provides a fantastic element to occupy the opening in back, really changing my earlier thoughts about what would happen back there. Thanks to Elizabeth and Jude for this treasure!

The knob is extremely deep - way too deep to use without alteration, as it would stick into the chest when worn. I want to be very thoughtful about the side-on silhouette, so first the knob is reduced in length.

Next, the ivory plate is removed and the wood hollowed out dramatically. It has a resemblance to a eucalyptus nut now, and after popping out the dowel that attached the knob originally to the organ, there is a lovely hole in the back that I can put to good use.

Now that I've gotten the knob to this stage, I need to go back and widen the hole on the pendant to allow it to sit farther into the piece. 

After a good 45 minutes of alteration, the knob sits where I need it to. 

The knob is now provisionally glued into place and the interior is painted the same color as the oyster knife handle. 

The pendent seen from the side. I'm really enjoying the odd asymmetrical shape of this piece as it's progressed.

Now to work on the interior of the knob.

 A large, faceted labradorite bead is pressure fit, then affixed to the back of the knob. The plan at this stage is to have a lot of small things that will roll around inside the knob and some sort of clear panel in front. I look around for a lens or something similar to work here. 


After picking out some very tiny glass balls and snippets of antique paper to occupy the chamber, it doesn't take long before I realize that a mica panel is in order. I don't want to use glue to affix the panel on the front, however. 

 So I set about making a tiny thin groove that will allow me to snap a disc of mica into place over the top.

 I initially cut a piece of quite clear mica.

 I opt, instead, for a very striated piece, where you can see the black deposits between the layers of the mineral. The disc is cut just larger than the circular opening, and because mica is quite flexible, it should snap into place when I gently push down on it. 

Voilá.

At this stage, as I've mentioned, the knob itself has been glued into place. I never like to have glue holding anything in a structural way, so I find a method  to mechanically connect the knob.

Miniscule copper tacks fit the bill. Mike Meador, are you smiling up there?

 Pre-drilling the holes for the tacks.

Inserted and patinated. 


Next I move to just below the knob. The copper title plate, as you may have noticed, has holes on either side that have been wrapped around the piece. The holes protrude over the recessed area on the back of the handle. These holes will do the double duty of permanently keeping the plate on the piece, and attaching an object below the knob.

 An extended hunt through my materials yields the perfect object – a fragment of 19th-century clay pipe. It's the perfect width to span the recessed area below the knob.

It's also, I realize, a perfect place to sign my name on the piece. 

Engraved, painted, and rubbed back, the fragment is ready to mount. 


Next week, the last finishing touches to complete the piece. Stay tuned!

Keith

 

New Lo Bue Workshop #4: LIFE IN THE MIX

Another new workshop premiering next month:

LIFE IN THE MIX

Let found-object jeweler Keith Lo Bue take you into the world of submerging organic materials into pools of epoxy and polyester resins, learning the tips and tricks to get fascinating and beautiful one-of-a-kind imagery.

Where and when:

September 22th, 2011:
Art Is...Petaluma - Petaluma, California   Info Here

October 10th, 2011:Art Is...Who - Danbury, Connecticut   Info Here