ANDANTE, In-progress, Part 2.

ANDANTE is nearing completion. When I posted last, I was preparing for the front lashing to enclose the doll's head. Now to it:

 I choose an antique cotton cord and design the pattern of twelve strands outside the head, and another twelve strands that go from the bottom of the cup, through it and through the hollow head, out a hole drilled in the top of the head.

 All twenty-four threads in place, I can now see that these cords are too sharp for the softness I'm looking to achieve. So I switch to an antique rayon cord, slightly thicker in weight, but feathery with a high sheen. Much better. I now begin the process of creating a kumihimo braid where the cords meet at the top of the head, which will double as an attachment to lock the porcelain head tightly to the cup.

 The cords arranged and ready.

 The first few rounds of braiding cinch the object securely.

 The spiral braid forming.
 

 I stop every few centimetres to assess the length of the braid.

 Now it has reached the point where I choose an object to 'cap' the braid. I find an exquisite star-shaped Medieval spur in my collection (not shown here), which finishes the piece.


To view ANDANTE in finished form:
http://www.lobue-art.com/andante.html


To view ANDANTE along with purchasing information:
http://www.lobue-art.com/andante-s.html


Thanks for looking, and I hope your holiday is a lovely one!

ANDANTE, In-progress, Part 1.

Hello all and welcome to my first blog post in - well - seems forever. I'd like to show an incomplete but interesting set of images showing my new ring, entitled ANDANTE, coming together.

I had started the ring while on the road teaching - in Connecticut, to be precise. So there are no images of me beginning the alteration to the handle. I drill holes around the perimeter with the plan to lash down a porcelain doll head I bought on the trip. 

I am really enjoying extending the cup ring series, as it pushes me to treat each similar cup fragment in a totally unique way. Previous rings using this base element are Dissection of a Coquette's Heart (2004) and The Odalisque (2011).  

After drilling holes around the base of the doll's neck, I set about creating a webbing of waxed-linen thread around her head.

 Now, back in the studio in Sydney, I can resume work. The title is chosen for the piece and inscribed along the broken edge of the cup, to be engraved.

 After engraving, it is painted with dark umber paint and then sanded back.

 This brings the contrast and texture up.

 I go through several iterations of lashing patterns to discover the best one. Here, working out the order of passes.

Now a series of white antique cotton threads are passed up through the cup (anchored by this freshwater pearl)...

...and then through the hollow of the doll head and out through a hole drilled in the top of the head, to be utilized later.

 

Heavy waxed-linen thread is chosen for the rear anchoring and the attachment begins.

 Slow going, but coming together.

 Three more freshwater pearls are caged inside the hollow form, able to roll around but contained.

 As it works its way around, tweezers are the only way to keep going.

She reclines, ready for the front lashing and my inspired method to finish it off.


Next week!


Cheers,


Keith

A New Ring, in-progress: THE ODALISQUE.

Amidst all the new workshops being put together for later this year, I've managed to squeeze some very fruitful time into making some new work in Studio Stuffsmith.

Here's one of the new pieces. It begins as a companion piece to the 2004 ring entitled 'DISSECTION OF A COQUETTE'S HEART.' 

 
The base of the ring is another broken porcelain teacup handle. After opening the finger hole up a bit, I find a lovely starfish specimen to perch atop the platform. It will be one of my early forays into electroforming. I'm doing this using Sherri Haab's elegant and compact electroforming system, which works like a charm.

The starfish is coated in conductive paint. Now into the drink.

Just after immersion.

 A copper-coated crustacean.

Now to prepare the base. Holes are drilled to strap the starfish to the top. The blue glaze of the cup is spectacular - just perfect.

 A 'pool' is drawn around the starfish, to be recessed into the surface...

Like so.

  Another splash of conductive paint.

  And the tiedown begins.

  Tied and ready for another session of electroforming.

This second coating will strengthen the form as well. The creature is extremely fragile, and I'm delighted that this new technique in my palette lets me feature some of those delicate materials front and center.

  Ready for patina.

  I love how the copper on the bottom fleshes out the countersunk areas of the holes. It also locks the whole assembly absolutely securely.

 Signed and nearly finished.

  In searching for my title, I come across this text and catch my breath. The curled and assemetrical form of the animal is brought out and given an attitude that just didn't exist before being combined with this text. And how appropriate, as well, that the two teacup rings feature a coquette and an odalisque - a fact that I didn't even cotton onto until the ring was finished!  I am fascinated by that intuitive aspect to my process - I'm often as surprised as a bystander by what occurs under my fingers.

To see the beauty shots of this piece:
Click here.


Or, to see it with purchasing info:
Click here.

I hope you enjoyed the journey.
Keith