Lucas Went Home

The sculpture of the bronze little boy with a cape went home last week. I watched them package him up and send him home. It has been a while. I am sure the mom is anxious to see him. It was strange, the day the truck came for Lucas, my own child was moving away from home. More goodbyes!
Metal Check


Today I went to the foundry to look at the metal – the bust and the mom and baby. At this point the foundry asks me to examine the sculpture and see if there is anything that needs to be fixed. Both of the pieces have a base coat on them already. This makes the metal easier to see. I have indicated some changes and next week the foundry will be putting a patina on the sculptures. I can not wait to see them complete!
The little seated child also is out of the studio. A mold is being made of him. He is green ware and extremely fragile, I will be glad when he is done.
Getting Past Ourselves to Live Our Dreams
Created for Best of Artist’s and Artisans website
By Bridgette Mongeon © 2007
The Houston Public Television Station created an artist documentary on my work that began, “Making a living, while living a dream, a hard combination, many hope for but few achieve.” Why is this difficult for some artists to achieve? There are many reasons. Some want to create and don’t want to bring the element of sales or business into their sacred place of creating. Others may not have the business resources. Still others have psychological barriers that keep them from succeeding and reaching their dreams. Through my marketing in the arts workshops I have helped many different individuals overcome those obstacles that stood in their way of achieving. I hope to help some of you do the same. But be forewarned, sometimes the biggest obstacle can be yourself!
In my lecture on creativity I often state, “Watch out, the moment you want to be creative; the moment you sit down to begin the process of writing or painting or drawing or composing, your mind will suddenly feel a different urge. Suddenly you will feel that cleaning the grease off the back of the kitchen stove will be more important than creating.”
It is the voices we hear in our heads that keep us from doing the very thing that our heart wants to do. We distract ourselves with other things. Yesterday I sat down to write a chapter of my marketing book and felt compelled to check my e-mail, look up random topics on search engines, and then clean off my desk. The same thing happens when I begin to sculpt. “Don’t forget when you get back into the office you should…,” my mind bellows. Last week I was working on a sculpture and jumped up so many times I thought there must be something wrong with me. Now I make it a point to keep a pad and pencil by my sculpture and jot down intruding thoughts.
A friend called with the deepest yearning in her heart, “I want to be a writer,” she stated. My answer was matter of fact, “Then write. Don’t just read about writing; don’t take classes on writing, WRITE!” We keep ourselves busy without actually doing the thing we want to do. Another friend called and said she wanted to be a mosaic artist. “I think I’ll get a part time job so I can afford more art materials, then I’ll go and buy some really nice concrete birdbaths and more art supplies, and then I’ll create the most beautiful pieces.” I told her to break some old plates and create. Why do we make things more difficult than we have to?
If you really want an eye opener, purchase Steve Pressfield’s book, The War of Art.
Pressfield calls it resistance. My husband, also an artist and writer, said this is one of the best books he has read. “It doesn’t leave you any places to hide,” he told me. The book is a quick read but one you will want to keep around. It will; however, make you take a hard look at yourself. Scrawled on my husband’s marks-a-lot board in his office is, “RESIST RESISTANCE—EXCUSES”.
Pressfield put a name to the voice—resistance. I have approached it a different way, telling attendees of my workshops that the left hemisphere is the more dominant. My queue cards for the left brain (the left side of the audience) reads, “You can’t draw, you can’t write, you can’t act, NO WAY, NO WAY, NO WAY!” The audience is rather timid when saying it, but I convince them to say it in the voice they hear in their head. The retort is a scream that comes from the gut. It is their voices that keep them from their dream. The queue card for the right side of my audience (the right creative hemisphere) is often said in a whisper, “Yes you can, yes you can, just try.”
In the words of Pressfield;
“Resistance is fueled by fear: Resistance has no strength of its own. Every ounce of juice it possesses comes from us. We feed it with power by our fear of it. Master that fear and we conquer Resistance.”
A New Article About My Work- Newsboy
There is a new article about the newsboy that can be found on this link
It is a pdf, scroll to page 4 North Carolina Press Association newsletter. (This link no longer available.)
Here is quote from the article written by Brian Rapp,
Rusty Carter, Horaces’ son and president of the Tribune’s parent company, Atlantic Corp.
“A lot of times you never know what you’ll get with a sculpture unless you buy it off the shelf, but it turned out better than I ever expected. We’ve already gotten an extraordinary amount of comment about it from all over the region.”
The Sculpture Goes Back To Center Stage
Bryan has been working diligently on Dick Hathaway’s satchel, and we moved the sculpture back to the center of the room. It is time to finish Dick Hathaway and get him home to Vermont.
Going On
The mom and baby are at the foundry, along with the portrait bust. I should hear back any day now and am looking forward to seeing them. The sculpture of David is complete, but I do need to cast him in something. Onward or shall I say back to Dick Hathaway. This is a sculpture that I have been working on for a while. The TW Wood Gallery in Vermont has been trying to raise funds for the casting of the piece. It is of my former professor Richard Hathaway.
Bryan has been working on the clay satchel of books that sits at the feet of Dick. And yesterday we moved Dick to the center of the room again.
Onward
The mom and baby are at the foundry, along with the portrait bust. I should hear back any day now and am looking forward to seeing them. The sculpture of David is complete, but I do need to cast him in something. Onward or shall I say back to Dick Hathaway. This is a sculpture that I have been working on for a while. The TW Wood Gallery in Vermont has been trying to raise funds for the casting of the piece. It is of my former professor Richard Hathaway.
Bryan has been working on the clay satchel of books that sits at the feet of Dick. And yesterday we moved Dick to the center of the room again.


Dick Hathaway Takes Center Atage…
It has been months since I have worked on the sculpture of Dick. I have put him aside waiting for the rest of the funding to come through. I heard the T.W. Woods Gallery is getting very close to having the funding. As I have said before, I will have to cut the sculpture up into pieces to cast it into bronze. I hate the idea of Dick going to pieces without knowing he will soon be put back together.
I have pulled Dick center stage for a couple of reasons. The first is that my new apprentice Bryan is doing such a wonderful job I know we can work through this quickly with his help. And I’m feeling that it is way beyond the time of sending Dick home to the Green Mountain State. Maybe he can be there by fall, and if not maybe by sugaring. Though we would have to be sure the ground was not sill ice so that we could install the sculpture. I can’t wait!
It is sometimes good to get away from a sculpture for a while. Rarely do I have the opportunity to do so. Commissions come and have deadlines and it means working one after another. But walking away from a sculpture and coming back gives you an entirely different perspective. I can’t wait, give me the pot of hot clay, the large tools. Time to finish the upper torso of Dick Hathaway and then the details in the face.
In Love With The Human Form

“As a figurative sculptor I am entranced with the human form, male, female, young or old.”
Created for Best of Artists and Artisans web site
By Bridgette Mongeon © 2007
Recently the editors of this column wrote me concerned that people were shying away from sending in nudes to the Best of Artists and Artisans art competitions. Are nudes a controversial subject to submit? As an artist I would certainly have to evaluate each competition carefully, before entering a nude. I posted this same topic on the sculpture community forum and received some enlightening responses.
Here are some of my own experiences with nude/naked art.
The human form is an important element of focus for any artist. My husband, who is also an artist, and I are always telling art students, “Draw from life, and make sure you can draw the human form.”
Working with nude models and creating paintings and sculptures of nudes are all part of the learning process. There was a time when there were more nudes in my repertoire of art. Although I rarely sculpt a nude these days, it is not because I have outgrown them. It is because of my very busy schedule, working with a live model would be a luxury; working from a live nude model would be a way to relax. All my work is through commission and I keep very busy doing just that. Unless someone commissioned me to create a nude, and I have had a few of those, then you won’t see many nudes coming out of my studio.
By far the piece that gets the most attention and always initiates comments from those who enter my studio is “Ethel” – a nude. It is also one of my favorites, and if I crave to do other nudes, it is because I have fallen in love with “Ethel” and want to see more of her, no pun intended. The Ethel sculpture startles individuals, but at the same time seems to make them secure within their own body.

Before the time of digital cameras, I would take pictures of the nude model, with their permission of course, and when they were not at the studio I could continue to work on the sculpture. There was a time when I was banned from coming to the local pharmacy photographic processing center, until they learned more about what I do, but even then they suggested I take these “type” of photographs to a professional lab.
The most controversial of nudes is the child nude. During the creation of “Le petit pollison,” individuals were concerned that you could tell the sex of the baby. It infuriated me that I should change my art to appease what others thought, but in the end I compromised by pushing down the child’s rear end.
I love sculpting children. I long to study that tiny little form, watch the process of the growth of the skull and bones, and yes I desire to sculpt nude children. To be perfectly honest I long to sculpt every human form. I’d love to find another Ethel, and would also love to sculpt a very old person as a nude. The thought of it immediately brings to mind the science behind what I am doing, how does the muscle and skeleton change over the years? But more than that, what emotion is exhibited from each form? The young child with his/her plump cheeks and swayed back, rear end sticking out and chin down initiates a feeling of innocence. On the contrary the frail form of the elderly, stature bent over with time, skin hanging, exhibits the ravages of life and in that wisdom. As a figurative sculptor I am entranced with the human form, male, female, young or old. When that longing is transmitted to the clay, accompanied by the emotion and the artistic passion, it can become an award-winning piece of art, one that, with the proper competition, could be submitted to without hesitation!
Busy With Various Things.

The studio has been busy. Bryan has been helping out with the Dick Hathaway satchel and also has helped on the molds for both the life size bust and the wax of the woman and baby. He is a good worker and a pleasure to have around. As I stated before, we are documenting that entire process of mold making on the new forum. We took a tour of the foundry when picking up the wax of the life size bust. Bryan has been with me for only two weeks and has had quite a bit of exposure to the entire foundry process. Next week he will learn to work on waxes as we will be pouring many waxes and working on them at the studio. Besides mom and baby and the bust we will be working on seven small newsboy sculptures.
I have been enjoying working on sculpting the small baby. The head is not attached as I alternate between boy and head. The head has a dowel in it that attaches to the body. I had to replace it with a longer one as it fell off once and smashed on the floor. Little heads are hard to keep on in clay, I have had this happen before. I still have a lot of work to do on this piece but it is a very pleasant distraction from mold making and computer stuff.
