The Real Alice
The Studio Is Filled With Norma
The studio is filled with Norma. I have reference photos on the wall, and a blown up copy for inspiration. There are piles of Norma pictures everywhere. I’m also referring to online photographs of her provided by the family and ones I can find on the internet. If you have photographs, especially those of an older Norma, please sent them. So with all of my online reference my computer is perpetually covered with clay. I must remember to clean the bottom off of it before going to bed, as I usually write in the early or late hours and this dark clay smudged on sheets, well you can only imagine what that looks like.
I worked hard on getting Norma’s face. Sorry no views of that. I’m saving that for the family. I realized I couldn’t really get her face until I had her hair, and boy did Norma have a lot of that hair. An intern spent the entire day just smoothing hair that it took me 4 days to add. Multiply that by about 5 more areas and you have Norma’s hair.
Even without all of her hair, I’m real close to capturing her essence and I’m delighted. Meanwhile there are body parts everywhere. Hands with Norma’s jewelry are in one place, her sculpted boots in another and other appendages await to be attached. Norma is in pieces and I can’t wait to start to put her together.
It is pretty much Norma central, but at this rate we will have her complete before the September gathering. Then it is just a matter of having the funds to cast her. I can’t wait to see her and Kippy in the park.
Oh, Kippy. He sits on the other side of the room staring with vacant eyes, wondering when it will be his turn again. My granddaughter came to my studio, found a stick and walked around the yard with it for the entire day. We have given it to Kippy. It will be what he is waiting for Norma to toss.
Onward to Norma. Need more of her music. Did the band have a CD? It would be great to have it here in the studio as we work. The you tube songs are not very good. Some are, but then how many times can you listen to the same few songs? Love listening to her as we sculpt though.
Don’t forget to send in your donations so we can get Norma cast. More photos to come as we have time. Now I better stop as the 1/2 moons of clay are exiting my fingernails and are all over the computer.
This is the documentation of Sculptor Bridgette Mongeon who created the Norma Zenteno Sculpture and Kippy for Zenteno Spirit and Barrio Dogs. You can find the process blog for this project at http://normasculpture.blogspot.com/
Visiting the Bellaire Library
I had fun at the library. My favorite part was meeting Ms. Teas. For those of you who don’t know, the park is placed on the land where Teas nursery used to sit. A long time ago, when I was first starting to sculpt, I had a line of gift items that I called Dandelions and doodlebugs. I sold them at the nursery and would come and sculpt in their gift area to bring attention to the pieces. I guess I have come full circle. I love to hear about the history of the place, the houses, and the teas. Mrs. Teas was the fan of the day. I think people enjoyed the adventure. Can’t wait for the next one. I’m so glad we could meet.
Posted onJuly 15, 2017CategoriesUncategorized
Hide And Seek
In all honesty I have been coming into the studio late. I work weekends, I work most days, but I love what I do. If I’m not writing, I’m sculpting, but this weekend I took time for family and I did something I have not done in a very long time. I made a pillow.
Anyway…In the afternoon evenings I’m coming in to the studio. I have a few days alone with Norma, no interns, nothing going on and I’m so excited. The dog Kippy sits on the other side of the room whimpering for me to get back to him. Norma’s boots are roughed in and I swear they are also tapping, waiting to be put on a body. Norma’s hands are in another part of the studio. But I keep coming back to Norma’s face.
I was talking to my sister yesterday and told her about a portrait that I did of a doctor. I felt so good about it all night long. I was having a grand time with it and felt confident. I closed up shop and in the morning when I came in, set my things down on the counter and turned around I found I had an entirely different man in my studio. What I had labored over for so long was my own deceased father. I spoke right out loud, “What on earth are you doing here dad and where is the doctor?”
So, though Norma is taking stage in the evening, I want to be sure she is there in the morning.
This is the documentation of Sculptor Bridgette Mongeon who created the Norma Zenteno Sculpture and Kippy for Zenteno Spirit and Barrio Dogs. You can find the process blog for this project at http://normasculpture.blogspot.com/
Norma’s Party And Making Friends
asked everyone to send pictures and stories.
I was delighted to attend Norma’s Birthday Party at Sambuca on Thursday. I planned on taking Friday off, away from my constant search for Norma. You see, I have body parts ready to be put together, but until I can capture the essence of Norma in her portrait bust, I can’t really put everything else together.
There is an old movie called Hook. In one part of the movie there is a magical moment when a little boy is smooshing around the face of Robin Williams trying to find Peter Pan. At one point he says, “there you are Peter.” I have that moment with each of the portraits that I sculpt.
Fnding my subject can be a challenge. Sometimes, I have to step away from the sculpture. This is extremely hard, especially when I have interns waiting to get to work on parts, but I cant go any further until I find Norma. So stepping away becomes part of the process. Thursday, when I stepped away I was delighted to be surrounded by the Zenteno family. I actually began to miss them. It is a bit odd, but I’m not sure if it is me missing them or Norma. I bond so much with my subject it is often hard to tell where they end and I begin, well emotionally.
It is Saturday night, I have sat with Norma’s head in my lap, flipping through images and trying to pull her into the clay. 4 hours later I mushed the clay around and finally said, “Oh, there you are Norma.” Now, I step away until tomorrow, to see how she will talk with me again. Finding the essence of Norma is a lot different than finishing the sculpture. There is SO much to do. We have actually just begun. But tonight I can sleep a little more at peace knowing that Norma is taking the stage in my studio.
This is the documentation of Sculptor Bridgette Mongeon who created the Norma Zenteno Sculpture and Kippy for Zenteno Spirit and Barrio Dogs. You can find the process blog for this project at http://normasculpture.blogspot.com/
Stepping Out
I love that this sculpture of Norma is starting with her feet. Whenever I create a sculpture I divide it up into pieces. Feet, hands, head torso- each are first roughed in, then put together and then detailed. I love working with the feet. Feet keep the rhythm they dance in times of celebration and they are raised when the day is done.
For me, right now, the idea of stepping out, moving forward and especially for strong independent women is important.
My personal journey of stepping out is stepping out to hike with other women in my hiking group and stepping out with helping others to learn salsa and bachata at SSQQ dance studio in Houston.
I see Norma as walking towards confidence, no matter what the challenge. I see her walking towards friends, to greet them, embrace them, to care. Stepping out… shoes are more than just an accessory.
Every piece of a posthumous sculpture is a connection.
For me right now it is the feet, and then I’ll move to her head and hands.
Other updates.
Along with sculpting of Norma’s feet, we have been preparing to begin the other parts of the sculpture. We need an armature for the placement of Norma which will be her seat. This was lovingly created by Johnny Rojas for me. We returned to the area on the East End of Houston, once again, to get a look at what was being done. It is fitting that Johnny would be helping with the armature. I’m not sure all the details, but Johnny recommended me to someone who I think recommended me to the family for this job. Thanks Johnny for bringing your energy into this project.
Whimsy into art. The clay that we used in each of the projects is reclaimed from previous projects. Interns have been busy on the sunny days, laying part of the Alice in Wonderland sculpture, and the feet of the mad Hatter, and the torso of a seeing eye dog for the last project of John Turner all outside on plastic. The sun melts the clay and the interns reclaim the clay for Norma. I love that the creative energy of the clay is infused and reused.
Another intern pulled together a very rough armature of Kippy- photos to come.
This is the week I being to absorb all things Norma. It is a strange process sculpting deceased loved ones. I really want alone time with Norma. No interns, no distractions— just Norma and I. But first, the grudging work of getting armatures and clay on those armatures. All part of the process. More photos to come.
This is the documentation of Sculptor Bridgette Mongeon who created the Norma Zenteno Sculpture and Kippy for Zenteno Spirit and Barrio Dogs. You can find the process blog for this project at http://normasculpture.blogspot.com/
Keynote Speaker At The Texas Art Education Association Conference
I am thrilled to be chosen as the keynote speaker for the Texas Art Education Association conference to be held November 2017 at Moody Gardens Galveston.
Throughout my career as an artist and a writer it is as important to me to share information and create a learning experience through the creation of my art as it is for me to create the art itself. At the 56th annual conference I will be speaking about the educational initiative title STEAM. I’ll share how others have used , Science, Technology, Engineering Art and Math in an interdisciplinary learning experience and how I have done that in my own studio.
Of course the Alice in Wonderland project title “Move One Place On” has the STEAM education in spades.
I’m delighted to be presenting and can’t wait for November.
Making Friends With The Deceased- Being a Part of Family and History
When I’m not sculpting monumental Alice in Wonderland characters, you may often find me making friends with the deceased. That is what someone told me years ago. It took me aback, but I realized that is what I do. I create posthumous sculptures, and like the video for Texas Country Reporter states, I get to know my subject very personally and at special times I’m now realizing, I get adopted into a family. I can feel that now as I work with my new sculpture of Norma Zenteno, an incredible musician who died of breast cancer. The “feeling like family” and becoming friends also extends to those four-legged critters as part of the Norma project I’m sculpting Kippy, a rescue dog from Barrio Dogs. I feel the warmth of family in this new commission, and this weekend I felt the warmth of family as I visited an old friend.
I sculpted Patsy over 11 years ago in 2005/2006. Looking back it was an interesting time of transition. I had just built my new studio behind my home, began a regular blog on my website, and was writing a book on the process of sculpting the deceased- still unpublished.
A few years ago I began to receive invitations to a family party on the Patren Ranch. This is a ranch that has been in Patsy’s family for over 100 years. David, Patsy’s son and his wife Becky live on the property. David is also a musician so besides visiting the sculpture of Patsy under a large old oak, where “tree Whisky” hangs, there is always great live music. Though it is a long drive home, I had to stay late, just to hear David play his fiddle and see the family begin to join in on the revelry. If you know me, you know I’m all about the music, either dancing or joining in on harmony, it is one of those other favorite things that I do. The rolling hills and the old refurbished family home, now a museum complete with the German history of the area leaves me feeling nostalgic and sentimental. Clusters of Blacked-Eyed Susans crop up in wild areas, and crickets hop over my sneakers on patches of dry mowed lawn as I wonder the fields. An olive grove was put in by Patsy’s husband, Howard a few years back and I’m tickled to go see the progress. I ramble past the new old “kitchen” building. Howard tells me they are building it from reclaimed wood. I hear it will be the “music” building. I have longed for property for which to grow my business, and for which to grow historical relevance and pass on to the family. While walking through the main house, a charming young man grabs my hand, shakes it hard, and says, “I’m Cody, Howard’s grandson, I’m so pleased you are here.” His intensity, charm, and warmth radiate from him. I watch later as it spreads on stage with his singing. I know very few people invited to this gathering save for Howard, Patsy husband and Jennie, Patsy’s best friend who posed for the sculpture. But the family embraces me like I’m a relative who has been away on a journey. With the tight schedule of the Alice Project, I have been away and have not been able to attend a Patren Ranch party in a while. It is good to be back.
The story is told that Patsy’s
grandpa had a still. Grandma didn’t believe
in drink, so her grandpa
would hide the whiskey bottles
high up in the trees.
The workers could be found taking
more than a rest under one of these old trees
Howard and I sit by the new pool, as the sun sets over the rolled up bales of hay in the field, me dangling my toes in the water and talking as I watch the family dogs jump in and sit on the pool ledge slightly submerged in the water. I am sure this was built for them. They bound out, sniff me and Howard, and then chase after their mates clearing the small stone fence like graceful equine jumpers. It is a playful ritual that is repeated several times during our visit and endears me to the family, and property all the more. I sip a frozen margarita and Howard and I talk about the last ten years and my career. It forces me to reflect on my accomplishments. I’m glad I brought him a copy of my book. I’m extremely thankful for all of the commissions that have brought me to this point in my life.
Later, a young woman gathers around my prime seat in front of the stage, my space where I have parked my things for the last several hours. She says, “I need a chair like that. It looks so comfortable.” I tell her it is my camping chair and stool. “Do you go camping a lot,” she asks. “I love to,” I say. Her reply makes me laugh, ” Well I am not a camper but I like sitting and that is a fine chair for that.” Not long after that I pack up my “fine chair” and prepare for my long drive down the back country road to Houston.
The music, the family, the incredible refreshing property that is Patron and the memories have refreshed me. I think of all the people who have referred to my sculpture and said, “I’m so glad we have Patsy to visit.” I have become a part of a memory, a part of the history of this family and this property through my work. I’m so very honored. Thank you, Patsy.
Installation Of a Sculpture John Turner
The casting of John Turner is actually featured on Bridgette Mongeon’s main website. Check out
Preparing to Sculpt
Making a Mold
The Wax
Casting and Metal
Delivery and Installation
Also: This is a sculpture created of John Turner for the city of Frisco. The entire project is documented on a project blog at https://johnturnersculpture.blogspot.com/
We followed along on the prep of a bronze sculpture in the last post. Now, let’s see how this is installed.
On my second day of travel, the John Turner sculpture and I end our journey at Frisco Heritage Center. This is a charming place to visit with old buildings. I can’t help look at the area and dream of benefactors that will let me create period bronzes with the faces of their loved ones that will enhance the visiting experience. I see bronze sculpture of children from history gathering in the school yard, or a boy and his dog playing on the porch of the old cabin. A family, in period costume, running to catch the train at the Frisco Depot or a black smith working in the blacksmith shop.
I only take moments to see these creative, inspirational bronze apparitions as we must quickly get to work. I arrive at 10 and we estimate this will take about 2 hours. I’m happy to see strapping young men and art handlers of Unified Fine Arts. They will come in handy when trying to lift out a 350 lb sculpture.
We watched the prep of this at the foundry and on site in the previous post. Now, let’s look at the rest of an installation. Together Unified Fine Arts, Nouveau Construction and myself go over he plans for the installation. I can’t be at every install, as my schedule and the travel will not always permit me to be there. In those cases I have strong communication with my clients, delivery and installers. However, I’m delighted to have been able to be at the install of John Turner. The slab has been poured, cured and ready. After Unified Fine Arts carefully unwraps the sculpture we begin to look at placement. I’m thinking of many things when placing a sculpture. Some of these things I have taken into consideration all the way back when creating the sculpture in the studio. Design questions I ask myself are:
- In what direction is my subject looking?
- What are the elements surrounding the sculpture that may interfere with the visual design?
- How does the sculpture look when you are approaching it?
- Does the placement of the design look good in configuration with the slab?
The men at Unified Fine Arts are patient. I wonder if they think I’m like a woman moving heavy furniture in a room, “No, the sofa may look better over there, but I don’t know, can I see it again?” I am a visual person by nature and so I often will move and fudge a sculpture, try one thing and another until both I and my client agree. The added visual element we had to concern ourselves with is the dedication plaque. The plaque will rest flush with the ground. I’m concerned as to where it is placed if people are taking pictures. I know children will love to come and see the dog. Adults may want to pose next to or behind John. I’d like to see it not be stepped on that much. Once we have exhausted our option we vote for the plaque to the right in front, and John facing the parking lot as if he is walking to go home. I do wish this concrete were stained the color of the other pavement, or ideally I would have loved it if the pavement circled around or he was put in an existing walkway. But this is what we have to work with and it does look fabulous.
InstallationOnce we have the placement of all of the visual elements I trace the places where the sculpture touches on the concrete with a pencil. Then the template is set in place and the holes are traced so the installers know where to drill. They drill holes into the concrete a bit wider than the threaded rods that I have provided.
Dry FitOnce the holes are cleaned out with an air compressor the installers prepare for a dry fit. They lift the sculpture and place the sculpture with the threaded rods extended out of the bronze, and place the piece into the holes. This is where a sledge hammer may come in handy. If the person drilling the holes did not drill them perpendicular to the slab then the rods will not fit in properly or if the foundry did not weld the nuts perfectly perpendicular then this will also be a a problem. The solution is to lift the sculpture out and either drill the holes more, or bang the rods into place with a sledge hammer.
Securing the sculptureOnce the dry fit is complete the sculpture with its threaded rods is lifted out and then epoxy is put into the holes. Carefully the sculpture is set back into place. The epoxy will cure quickly and secure the sculpture. Once complete, I walked around the park to see how the sculpture looks from all directions. I am more than pleased. My work is done here. The sculpture is now covered with a cloth to prevent others from seeing it until the unveiling. I often like to attach a small note to the tarp saying what it is and when it will be unveiled. I think this is an invite for others and prevents curious eyes from being tempted to take the tarp off and look for themselves.
Now for my long ride home. The van feels empty without the 350 pound sculpture, but my schedule is now just a bit lighter as I move on to a portrait bust and the sculpture commission created in loving memory of Norma Zenteno and in support of Barrio Dogs. I’m also still monitoring the bronze casting of the Alice in Wonderland sculpture of the monumental scene of the Mad Hatter’s Tea party created for Evelyn’s Park called “Move One Place On.” I’m also writing a book about the creation of this sculpture similar to my last book.
I kissed the dog goodbye. I have a long and emotional creative process with him and I had no idea until I left. I was going through the loss of a family pet when my children lost their home in a fire in February. If you feel some extra emotion coming from this dog, it is that love and tears that were put into the clay. I’ll be back up here next weekend for the unveiling. I can’t wait until John Turner sees the sculpture. I know you will ask, “How can he see it? he is blind.” That is the thing about sculpture and 3D work, it is meant to be touched.
Installation Of A Bronze Sculpture – Preparation
The casting of John Turner is actually featured on Bridgette Mongeon’s main website. Check out
Preparing to Sculpt
Making a Mold
The Wax
Casting and Metal
Delivery and Installation
Also: This is a sculpture created of John Turner for the city of Frisco. The entire project is documented on a project blog at https://johnturnersculpture.blogspot.com/
Installation of a bronze sculpture really depends on the size, location and base where it will be mounted.
Plenty of time should be planned for installation. If you are trying to set up an unveiling of a sculpture it is best to plan weeks in advance for the installation. Installation and delivery can be stalled by weather. I have, at times, also had deliveries rerouted because of wildfires. Giving plenty of time for pouring and delivery is important.
Miguel Macia works carefully at his foundry. We have seen all of the work that has gone into the sculpture up to this point. It has its final patina and so great care is taken not to scratch the art.
First a pattern must be made.
Some installers may not need this, but I find it is nice to have.
Internal mounting structure
John is placed on his side. You will see nuts that the foundry has welded inside of the sculpture. There are 4 points of contact. There is a nut in Johns toe, one in his heal, one in the front leg of the dog and then a nut in the back leg. It is preferred that all sculptures have at least 3 points of contact. If they do not, then this must be bid and prepared long before this stage. The foundry would need to weld stainless steal in the sculpture to engineer the sculpture properly. In larger sculptures engineers would be brought in on the job to be sure that everything is safe.
Threaded Rods Threaded rods are now threaded into the sculpture and then a cardboard pattern is made. The rod is pushed through the cardboard and then the feet of John and the dog are traced. Now we will see how all of this prep work comes together in the installation of the bronze.
Prep at the Site
Nouveau Construction created the concrete slab at the site. I sent them specifications as to how deep and wide the slab would need to be to accommodate the weight of John and his dog and to look aesthetically pleasing. Ideally I would have loved to see John on a continuous walkway, with the same look as the other walkways, instead of just on a pad. I really love it when my sculptures just blend in with their surroundings.
With the concrete poured and the sculpture loaded we keep an eye on the weather and plan our route. I also take the following:
- Extra patina, brushes and wax, just in case the sculpture is accidentally scratched.
- A torch to melt the wax
- All of the clients reference material
- A release form
- A form that describes the care of a bronze
- A sledge hammer. If someone else is installing the sculpture they might bring a sledge hammer. You will see the use of this at installation.
Transportation of a sculpture can happen in a variety of ways. I have fit many a body in the back of my van and when possible I like this way best. An enclosed vehicle makes me feel like the sculpture is safe, and I often have to make stops and sleep along the way. Though I carry insurance on all of my sculpture projects safety is important for me. I don’t want anything to happen this late in the game.
If I were to transport John and his dog on a trailer he would not be covered. My art shipping company of choice is Acts Crating and Transportation. They ship all of my work, unless a foundry offers shipping at a better price. If a sculpture is shipped on an open bed the flapping of the tarps can sometimes rub off the patina. If he were on a trailer he would be on a very interesting walk from Houston to Frisco, Texas.
Author: Sculptor Bridgette Mongeon