1/2 Way Through The Foundry Process
Once all the molds were made they were sent to the foundry and waxes were poured. The waxes are then brought back to the studio to be cleaned up. So here is Dick, gone to pieces! Now that the wax pieces are cleaned they are sent back to the foundry and they are gated up to get ready for the next steps in the lost wax method of bronze casting. I am so excited that Richard Hathaway is well on his way to becoming a bronze sculpture
Today I Had A Virtual Birthday Party For My Daughter
Yes indeed. I had a virtual party. You see it is mother’s day and my daughter Christina Diliberto’s 23rd birthday. Unable to be together, with her in Tulsa and me in Houston I posted a virtual birthday party on her face book. I posted several photographs of her as a baby and commented and tagged them. If you are on facebook here is a link. Then I noted that when she was born there was a wonderful big band station here in Houston. I called them and told them that she came in time to make me a mother on mothers day. I asked them to dedicate a song to my new baby. They picked “Aint she sweet” I found this wonderful video of the Big chicken chorus singing the song and posted that on face book as well. I laughed so hard.
Lets see if these links work to show you a few photographs.
Hanging at the pool, or at the beach. Some things never change .
mom and baby
From an early age Christina embraced nakedness and loved the feel of the boys buns. Even those who were too embarrassed to show their face.
You are the cats pajamas! Fierce in your endeavors, taking along a clown or a few laughs.
At this VIRTUAL BIRTHDAY PARTY we had
henna painting
butt sketches.
a margarita machine
petting zoo
serenade by the big chicken chorus
stuffed mushrooms, baked ziti, and salad
then Cirque du Soleil performed! What a great ongoing virtual birthday party! ( PS, pretty easy on the budget as well.)
Proportions And Tears
The box of persona effects is set out on a black piece of velvet. My chair is pulled up to the table as I ponder the photographs. The chair is my own daughter Fisher Price wooden high chair, something that she used as a child and I continue to use in my studio. It is my gauge for weight gain and width of my own hips. “I wonder what Jenna’s high chair was like?” I wonder a lot about Jenna. The moment I sit down at the table and pick up the items, the emotions begin.
I put in the CD sent by Jenna’s mom, songs that she played to, and songs that will be played at her service. ” An now the time is near…” My Way is playing on the CD and as I look at the pictures of the family their happiness. Then the gateway is open between the connections I have with Jenna’s mom and the tears and sadness begin to flow. My heart aches to hold a child I have never known.
I have gone through this process long enough to know this is a very strange occurrence, picking up the feelings of my client that are opened up because of our emotional bonds (see former posts).
It has taken me years to learn how to control the emotions, during the process of sculpting posthumous sculpture, as they feel they are mine, they could quickly overwhelm me. “Not mine.” I hear myself whispering deep inside, but just enough.
I feel as if I am testing the waters, allowing myself to touch and be touched, but only enough. Learning to say ” not mine” has given me sanity in this process. First I must recognize the feelings as not my own. Some people term this “Psychic empathy”. I don’t know what to call it, I just know it is there, and I now know how to work through it. I have written a lot about this in the book. I really do need to find a publisher for that book.
29.9 inches long. This is a measurement that has been given to me by Jenna’s mom. How tall is she while she is sitting? I look for pictures of her standing up, or being held standing up and then for her sitting down. My husband, also an artist comes down as I show him my sewing tape with 29.9″ marked off. We examine the dress, my brain switches gears and I am in another part, no emotion, just proportion, compare, compare, compare. We have decided 19 inches while seated. With this number the foam armature and structure can be built. I expect to be sculpting Jenna by Monday or Tuesday. The armature will be here and the Richard Hathaway waxes will be at the foundry. I can’t wait to play with Jenna.
No Interruptions Please…
While looking through Jenna’s box of personal effects the foster dog ( we foster animals from time to time, Sam short of Samantha is a big black lab puppy). Anyway… Sam came in wanting to smell Jenna’s clothes. I am so enthralled in the box, I hardly notice her at first. Then picking up a small moo can, an item from Jenna’s box, I turn it over and hear the sound of a small cow. Sam cocks her head. If Jenna were here she would be laughing so hard at Sam’s face. Again. I hear myself saying, as Sam turns her head again. We repeat this over and over and I feel I can hear Jenna giggling.
Soon I order Sam out of the studio. The game was fun, but I need to have time alone with these items. I am very possessive and don’t want anyone to touch the items until I have had my time with them, not even a very interested dog nose. I know that sounds strange. I’m not sure why I do this. I remember being short with a fellow student who tried to reach into the box of Dick Hathaway’s personal effects. It is very strange indeed.
Jenna’s Box of Personal Effects Arrived the Other Day
I could not wait for the time to open it. Open a box, which was packed in tears and memories of a special person who touched so many in her 14 months on earth. It is important that I carve out just the correct time to go through this ritual. I have opened many boxes before, in creating posthumous sculpture. IT is a ceremonial event, which consists of the same things but with drastically different “feelings”. It is the feelings that I am looking for, the feelings attached to each article by the loved one, the feelings of the person that belonged to these items. The feeling and essence of the individual that I will be desperately trying to coax into the clay sculpture.
I unwrapped the dress and stocking that were carefully wrapped in paper and tucked into a plastic bag marked “Jenna’s dress” and thought about how unusual it was that my 3D model baby is wearing similar dress. Marveled at how very tiny this dress looks in person, much smaller than in the online photographs that I have seen. “Oh look at these stockings!” I declare. With there little pattern, I could almost see her little chubby legs filling out the tights. “Toes or tights”, I wonder. Tights are easier to sculpt than toes, but those toes…
Then I surprise myself as I perform a ritual that I have done with a piece of clothing from Jenna’s box, a ritual that I have done with each box of each subject that has come before Jenna—Patsy, Lucas, Jeanine and others. I raised her tights to my face and breathed in the smell. “ Is this Jenna, her home smell, or laundry detergent,” I wonder?
a pause of contemplation…
Count Down…
To the sculpture of Jenna. I am trying to bring the Jenna Sculpture to Main when I bring the Dick Hathaway sculpture to Vermont. That is at the end of August. The foundry reports I must have Jeanna in mold for the bronze casting by the end of this month- May. It takes a while to go through the bronze process. I have ulterior motives in that I would really like Jenna’s mom to have her before Jenna’s birthday. That way they can celebrate, maybe have an unveiling at the gravesite.
This sculpture will be done a bit differently using new technology.. stay tuned.
White Pressed Clothes… I Could Dance…
Often after working on such a large project as the sculpture of Dick Hathaway, and the creating of the mold, the studio is a mess. Prior to that the studio is filled with sculpture, clay stained floors, the way a sculpture studio should be, I suppose.
My attire for the last few weeks has been grubby clothes that get even grubbier with putting the rubber and plaster on the molds.
NOT TODAY! The molds are done, the floor is clean (with a great deal of thanks to my apprentice Russo ). Today I put on pressed clothes. Of course I am working in the office instead of the studio. I am thrilled that the large studio floor is free from obstruction. What does that mean? I CAN DANCE! Literally!
I like to dance for exercise, turn on the tunes and start moving. Sometimes my husband joins me and we will practice our waltz, jitterbug, two step, fox trot or cha cha.
The Jenna sculpture needs to be in clay by next week. A quick turn around, but she is little and will take only a small amount of space. So… I HAVE PRESSED CLOTHES ON! A WHITE SHIRT, AND NOW I CAN DANCE!
New Online Article-
A new online article about using the computer program Poser to create presentations and reference for sculpture. The May issue of the online Magazine Best of Artists and Artisans online blog.
Article That I Wrote On “Optimizing Your Presence On The Internet”
Is now available in the new Sculptural Pursuit Magazine Summer 2008 “Optimize Your Presence on the Internet.” Vol.7 No.2 (Summer 2008) 53.
The Art Car Parade Is Coming….
A true traveling exhibit-
The Houston, Texas Art Car Parade
By Bridgette Mongeon © 2008
For those of you who don’t know about this crazy event, we have an art car parade, the largest anywhere. Here is an article that I wrote several years ago about the parade, along with some cool pictures. For more information go to http://www.orangeshow.org/art-car/
This past month marked a celebration of a true traveling exhibit. The 2008 Houston, Texas, Art Car Parade is one of the oldest and largest art car parades in the world. 200,000 plus spectators and media from all over the world saw this year’s parade. The art car parade is part of The Orange Show’s Center for Visionary Art and began in 1988 with just 40 vehicles. This year, its 21st anniversary, boasts 280 entrys from over 15 states.
I decided to take my studio apprentice Russo, an exchange student from Georgia (the country between Europe and Asia, not the state) to see this Houston wonder. Everyone should experience these American artistic autos at least once in their life. While on the way to the parade, we were followed by “Shep The Rescued German Shepherd” art car. Or should I say, “We were tailed.” It was at that moment that Russo learned she was in for something quite unusual.
An early arrival to the parade allows for close inspection of each art car, along with some of the colorful characters that seem to accompany the cars and those that the parade draws out from the woodwork. Besides art cars, costumed roller skaters and art bikes are also welcome in the parade.
There is really no other experience like seeing the wild rides exhibited in the art car parade. Russo and I quickly found our favorite cars. On our list was the “Sashimi Tabernacle Choir” created by Richard Carter, John Schroeter and Team Sashimi. The creators of this car mounted singing fish novelties and wired them to the car to sing in unison. The car has over 250 computer-controlled lobsters, bass, trout, catfish, and sharks.
We were also quite fond of “Dekuntry Pedlur” by Rich and Pam Molden. The car made to look like an old fashion country peddler made me think of Ma and Pa Kettle or the Clampetts.
The “Phone Car” by Howard Davis was originally a 1975 Volkswagen Beetle and has a horn that rings like a telephone.
Amber Eagle was inspired by the patron saints of Mexico and created “Lady of Transportation” and won Mayor’s Cup and Participant’s Choice Awards in the parade.
People’s Choice went to a giant chicken car called “HEN-A-TRON II” by Pomponio Napumucino.
“Radio Flyer” by Bob Castaneda also caught our eye as well as the “Crapper Car” by Richard Simcik.
Woodworker Isaac Cohen created a work of art. His car “Splinter” is made of wood. According to the artists My Space Page, ”I built Splinter as a birthday present to myself for my 50th birthday. It took 5,600 hours to complete. Splinter is built on an 89 Honda Accord frame. The body is 21 ft. long and crafted from 4,985 linear strips of ash and walnut.”
It is rumored that Houston Grand Opera’s baritone Liam Bonner was the person singing in the mouth of the art car “Opera To Go” by Perryn Leech.
The parade is one of artistic wonderment, free expression, and a real head turner. Coming home I had the urge to glue, epoxy or create something for my own silver van. You could say it was an obsession that was driving me crazy.
“Keep America’s roads weird, build an art car”
Quote by Tom Jones curator of The Art Car Museum died May 10, 2008 killed by a drunk driver.