The Story Without End, In-Progress - Part Three

Here we are to see The Story Without End, um.... End.

 Small brass bails are made to attach the clay pipe to the back of the piece.

A bail, patinated and attached to a leather cord.

Threaded through the hole in the copper name plate...

 

...and capped with the second. This will leave some options to attach on the outside loops. It's also a very gentle and supple way to attach a fairly fragile material - in this case, the clay pipe piece seen in last installment.

 The large slotted bolt is too harsh and sterile for the piece, and I decide to alter it.

Ready to work on it.

 To a grinder first.
 

 Then shaped with files...
 

 ..and on to the sandpaper.

 Polished and ready to replace.

I'll be looking to patina all the bright metalwork, but at this point I'm pleased with the revision.

 A beautiful little pearl is chosen to hang inside the steel blade, so wire is worked to make this happen.

 The pearl is far too large, so a tiny pearl will take its place...

 I love how the pearl rests on two points of metal below it, echoing the open circle below it.

 Now I'm hunting for an eye engraving to mount in the blade recess I've made, and this stunning steel engraving is perfect.

It needs to be soaked off of a scrapbook page, where it has been glued for 150 years.

In place. To those who noticed a small hole in the recessed area where the engraving lays now, a miniscule opal is mounted to peer out from the back side of the blade.

 Moving on now to the chamber in the heart of the piece. First, a panel of 16th-century book paper is carefully laid in place.

 Now a spray of sea urchin spines are attached, along with a tiny starfish, both of which will not be immediately viewable when looking into the lens, but around the periphery, offering furtive glimpses rather than a quick read.

 The inside of the lens housing is first painted off-white, to allow maximum light inside.

Now with paper affixed, the amount of light surfaces will negate the need for direct frontal lighting to make the interior visible.

 At long last, I can attach the lens assembly to the front of the neckpiece.

 Now I'll find an element to hang from the bottom loops by the name plate.

 Beautiful old copper-plated steel chain with a shoe button works well here.

 Really bothered by the tangle of chain on the upper part of the pendant - so the solution comes after fiddling with it for a while - the little chains are dropped down alongside the handle, rather than drooping upward. The balance immediately rights itself visually, and frames the whole piece.
 

Now I can patinate the metal and take beauty shots - we're done.


Come see it looking its Sunday Best:
http://www.lobue-art.com/story_without_end.html


And for all of the above plus purchasing information:
http://www.lobue-art.com/story-s.html


Thanks for taking the trip with me.  Next week I'll be showing a major commission taking shape - one that is emotionally loaded and quite an experience.


Keith

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