Sculpture
In Loving Memory of Patsy… Talking to Patsy?
During this process of sculpting I saturate myself with everything that is Patsy. One day while soaking in the tub I was thinking about the pictures and found myself talking to Patsy. I didn’t even realize I did this, and had I not been doing this study along with the sculpture I would never have known that I do. “Your boys are wonderful they have grown into such incredible men.” I said, not even realizing. I looked around the bathroom and thought, “I must be crazy.” However, after taking some time to reflect on what I was doing I couldn’t help myself. I thought of the pictures of Patsy with her grandchildren and I kept talking. “It must be wonderful to be a grandmother,” I said.
In Loving Memory of Patsy… How do I do this?
I think the most profound thing that is coming from the in-depth study of posthumous portraiture, is that I have had to ask myself the question, “Am I communicating with the deceased?” It sounds too eerie, too strange, and too off the wall, but as I am taking a closer look at the entire thing, I believe something is happening. I spoke to my mother about this subject. I really trust her judgement, and she is not only my physical mother but a spiritual mother as well. She believes that The Holy Spirit inspires me to do what I do. Either way, I know it brings healing. There is often healing of family members through the process of posthumous sculpture.
In Loving Memory of Patsy… The Pose
I spoke to Howard, Patsy’s husband, and asked him for as many photographs of Patsy as possible. These photographs are necessary for me to obtain a likeness of Patsy, but more than that, sometimes I think I can “feel” Patsy through these photographs. I have been trying to pay close attention to this study and the sculpting of Patsy. I search for who she is in everything. Howard brought by Patsy’s shoes and dress. This is an incredible thing for me to sculpt from. On my first day in the studio, before beginning to sculpt, I sat alone with Patsy’s dress and shoes, and I thought a lot about her. There are several of the photographs that Howard has given to me of Patsy that when I look at them they just really get to me.
If you are a friend or family member of Patsy and can post comments and feelings about Patsy, I would greatly appreciate it. If they are personal, please e-mail them to me and put “Patsy comments” in the subject line. All of these comments help me to know Patsy better.
Patsy, My Newest Project
I am utilizing my studies at Vermont College and incorporating this semester’s work into my newest projects. One of which, is the lifesize bronze sculpture of Patsy. I have decided to take a very close look at how I create posthumous portraiture. People always say that my sculptures are so life-like and have such spirit to them. It is easy to say how I do that with those who I have met and come to know, but in this study I am not only going to document the process of sculpting, but I am also going to take a very intimate look at how I do this sort of thing. How do I capture the sprit of a person I have never met? How do I capture the spirit of the deceased? Why do I love doing posthumous portraits? What are the psychological aspects of this type of work for both my client and myself? As I journal the process, I am intending to make it a book, “In Loving Memory of… Capturing the Spirit of the Deceased, a Sculptor’s Journey.”
If you are following the sculpture of Patsy, you will quickly be able to find posts that are about the sculpture. They will start with, “In loving memory of Patsy…” You can also search Patsy in the categories.
Newsboy- Life Size- The Editions
Sculptor Bridgette Mongeon documents the creating of a limited edition, bronze figurine and life-size Newsboy sculpture for the Texas Press Association. Bronzes are available for purchase in both sizes.
First Edition- Texas Press Association
The sculpture was originally commissioned by the Texas Press Association and intended for the State Capitol building in Austin, Texas. For the sculpture to be placed at the capitol building it must first pass through legislation. Until then, it presently resides outside of the Texas Press Association building. If you would like to see the sculpture it is located at 718 W. Fifth St., Austin, TX 78701.
Second Sculpture In The Edition-Tabor City Tribune
The Meyer Gallery in Utah contacted me about the edition of the life-size bronze Newsboy. Their client wanted to buy one in the edition to honor the Tabor City Tribune and the former editor/publisher Walter Horace Carter. They inquired to see if the Newsboy could be recreated with a replica of the Tabor City 1953 newspaper announcing their winning of the Pulitzer. That is where the idea of changing each newspaper for the rest of the newsboy life-size bronze edition came from.
According to the 1953 Tabor City Tribune newspaper that was sent to me, they were the first weekly paper to receive such an honor and shared it with Whiteville News-Reporter. Both papers were chosen for their crusade against the Ku Klux Klan, quite an impressive and courageous accomplishment, in this artist’s opinion. I am thrilled to be a part of this place in history.
The client sent me a copy of the paper. I had to modify the design of the newspaper so that it would translate to bronze, but was able to keep the look, headline and masthead of the paper. To recreate this paper for the bronze a wax is poured for each of the papers that are a part of the sculpture. There are some under his arm, one in his hand and some at his feet. Each must be carved in the wax to represent the new paper and headline. Here you will see the copy of the newspaper, my marker layout, the wax and how all of that transferred into the details of the bronze papers. Of course the back of the paper remains as I created it with the tribute to Skinney and others based on the historical article written by history professor Vincent Digirolamo.
I am still waiting for photographs of the placement of the sculpture and official comments. You can follow these links to read more about Horace Carter, Tabor Tribune and Tabor City.
The Purchase of A Newsboy Sculpture
Bridgette Mongeon created a Newsboy Sculpture for the Texas Press Association. It is a life-size newsboy hawking papers. A small table top version is also available. This is often used as awards or recognition for those who are in the industry.
The Life-Size Newsboy:
An edition of 15 the cost for your bronze is $20,000. plus shipping. You can have your masthead and headline in history reflected in the newsboys bronze papers for an additional cost of $3,000.
The Small Newsboy:
An edition of 100 the cost is $1,350. plus shipping.
You can read about the entire process by following this link of posts.
Newsboy-Completion Of The Newsboy Sculpture
by using chemicals on the heated bronze.
May 2005
Sculptor Bridgette Mongeon has documented the entire process of creating a figurine of a newsboy and a life-size bronze sculpture. Watch the artist work through these posts. In this blog, she has also included information for students and teachers. In the previous post, we found out about putting a sculpture together in metal and what can happen.
If you are lost and want to go back to the chronological running list of posts, follow this link.
foundry on how to create
the color on the bronze
sculpture. She lets him
know what areas she wants light
and what areas she wants
dark. It is a bit of a process,
but, like the rest of this sculpture
process it is worth it in the end.
It has been almost eight months since the beginning of the newsboy sculpture. We are now in the final stage of the process- the patina. Putting different chemicals on the hot metal so that they will cause a reaction creates the patina. The part of patina is a true art. I wish I knew all of the different chemicals and what they can do. Often, I’ll just ask them, “A little more yellow here.” The patina that will be put on the newsboy sculpture is a traditional patina. Traditional patinas don’t have any stark colors, no blue, green or white. The patina on this sculpture may change over time. Chemicals in and pollution the air can make a patina turn different colors. Water from a nearby sprinkler can also have an affect on the sculpture. The sculpture is heated with a torch and chemicals are sprayed or brushed on the hot metal. It is interesting to see the steam rise off of the newsboy. Sometimes the sculpture will be rubbed back using steal wool or brushes. This brings the metal back while allowing the color to set into the crevices.
I typically like to have lights and darks; the hat will be dark, his shirt lighter, the suspenders darker, pants dark, socks lighter. The difference between the light and the dark helps to make the sculpture look more striking. The different textures I have added to the outfit seem to add color by the affect the patinas have on the textured areas. This adds color without really adding anything.
When I am asked for my opinion of the patina it is always hard for me to see what it will look like when it is waxed. To get a good idea they quickly spray the sculpture with water so that I can see what it will look like with the wax on top of it. I give my final approval and the sculpture is complete.
She wanted movement and passion.
She wanted to remember boys and
young men that were a part in history.
NOTE: Much to my dismay I have learned that the sculpture did not get through the legislature process at the state capitol. There were some stipulations that the capitol did not want sculptures by individual organizations. In other words, would be appropriate to have a war memorial, but because this sculpture is by the Texas Press Association, a group, that is not acceptable.
That is a shame, because in my personal opinion the newsboy represents more than the Texas Press Association. It represents how children had a profound affect on our history, and the importance of the news throughout history.
I have been told that if it cannot be placed at the capitol as of yet. Until the political details are resolved The Newsboy will be installed at the Texas Press Association building just south of the Capitol at 718 W. Fifth St. in Austin, Texas.
Sadly, this ends the newsboy journal. Two sections that were not covered in this documentary was Installation and Dedication. Those are featured in the process pages of John Turner of this website
The rest of the links on the main link chronological page are either news concerning the newsboy or about purchases of other pieces in the editions
DO YOU WANT A NEWSBOY SCULPTURE?
Newsboy-Correcting The Metal
April 12th-May, 2005
Sculptor Bridgette Mongeon has documented the entire process of creating a figurine of a newsboy and a life-size bronze sculpture. Watch the artist work through these posts. In this blog, she has also included information for students and teachers. In the previous post, we watched the foundry put the metal together.
If you are lost and want to go back to the chronological running list of posts, follow this link.
We have just seen how the metal was made, and how it was put together. Time to correct the metal. The newsboy is all together, or almost together. I am making several trips to the foundry to be sure that everything is the way it should be. Walking around the sculpture I circle different areas with a marker. The foundry then can be sure to look more carefully at these areas. We did have one major change. After looking at the sculpture with the newspaper in his right hand I did not feel that the hand was positioned in the way that I sculpted it. Maybe something changed in the wax or when attaching the many pieces. So, they cut off the arm at the cuff and turned it. Then welded it back on again. It amazes me what these guys can do.
Once the arm was welded on we went to the newspapers at his feet. The newspapers were created so that they would balance tech heavy metal sculpture. They waited for me to position the papers and the carefully welded them to his back foot.Now that the sculpture is approved and together they will sandblast him one more time and we are on to the final process. The patina!
Don’t stop now, watch the next part of the process and the Completion of the life-size Newsboy sculpture.
Newsboy-Putting The Metal Together
March 16-April 30, 2005
Sculptor Bridgette Mongeon has documented the entire process of creating a figurine of a newsboy and a life-size bronze sculpture. Watch the artist work through these posts. In this blog, she has also included information for students and teachers. In the previous post, we watched a bronze pour.
If you are lost and want to go back to the chronological running list of posts, follow this link.
It is so much fun to pop in at the foundry and see the newsboy come together. The first day that I came to see how the metal was coming along I was greeted by these upside down legs. It made me giggle. Miguel, the foundry craftsman was working diligently on the metal. Each piece of the sculpture, once the ceramic shell is broken off of it, and it is sandblasted, is gone over very carefully by the craftsman.
copy the artist’s texture.
I was quite concerned when they cut up the legs of the newsboy the way that they did, so they wax could be dipped and then it could go to metal. I knew they would have to weld these pieces together and I had put texture in the knickers. If they welded the legs together they would have to match my texture. Miguel, the foundry craftsman is absolutely incredible. He made his own tools and then painstakingly pounded the texture into the legs. Amazing!
Piece by piece the sculpture is being welded together. You can see that things are really coming along. With cutting and piecing at so many different steps in the process, it is a relief to see the newsboy back together and that everything is fitting. The newsboy has a handle on his head. This handle is to be able to keep the sculpture standing when they are fitting the pieces together. We are getting closer and closer to finishing.
Time to move on. There is more to do with putting the metal together and Whoops! There was an error that needs correction.
the newsboy’s head. This helps to hold him
up while the foundry works.
Newsboy-The Metal Pour
March 8-15, 2005
Sculptor Bridgette Mongeon has documented the entire process of creating a figurine of a newsboy and a life-size bronze sculpture. Watch the artist work through these posts. In this blog, she has also included information for students and teachers. In the previous post, we learned about the dip and making a ceramic shell.
If you are lost and want to go back to the chronological running list of posts, follow this link.
It was exciting to get a call from the foundry, “We are going to pour tomorrow, if you want pictures come on by.”
oven so that the wax can
burn out. In this cavity the
metal will be poured.
The foundry was a buzz with activity. The furnace roared in the corner announcing the event. The craftsmen had just poured one set of bronzes, which were glowing red on the pouring table. I shot some pictures of the glowing bronzes and then spoke with Scott, the foundry owner, about the rest of the process.
Wax is melted out and
it is ready to receive
the molten bronze.
The furnace is heated up to 1,950-2,150 degrees. Everdure bronze ingots consisting of copper 95.0%, manganese 1. %, silicon 4%, and other trace elements were resting on top of the lid of the furnace. I was told that it was important to heat them up and make sure there was not any moisture in the ingots. If there happened to be any moisture in an ingot when it was added to the molten bronze, a steam explosion could happen causing molten bronze to go everywhere. We had to wait a good 45 minutes for more bronze to melt before we could see the second pour.
Meanwhile, remember our dipped pieces of wax that were covered in a shell? The wax is burned out of the shell in a furnace, thus the term “lost wax method” of bronze casting. Once the shells are heated up again (the 1,200 degree furnace is shown to the left) they are ready to receive the molten bronze.
The heated shells are poured while they are balanced in a pouring table. This table, filled with sand, helps to contain any bronze that should come out of cracks, should our shell have some problems.The crucible holds about 140 pounds of molten metal. Scott tells me that it is not just the heat of the process that is tiring but also the lifting of the heavy crucible. For safety reasons they only pour 3-4 crucibles a day. It takes three people to pour. Someone guides the crucible – the lead pourer, while the second person helps with balance- the deadman. A third person is there for safety and skims the crucible of impurities before it is poured.Before we knew it the pour was done! Our shells had no problems and held all of the bronze quite nicely. After an hour or so the pieces are removed from the sand pit for devesting. With hammers and chisels the shells are carefully broken off of the newly cast bronze pieces. All of the gates and cups that poured with the bronze art will need to be removed and the pieces will be sandblasted.
Now that all of the pieces are poured the foundry brings our Newsboy to the next step- welding him together.
breaks off the ceramic shell.
STUDENTS AND TEACHERS
If you would like to know more about the bronze casting process watch this video from another one of Bridgette Mongeon’s projects. Want to know more about the making of metal over time? Check out this website that includes a wonderful infographic on the metals over time.