Detail on some of the "Balance" series of small cellulose cement sculptures

On this page more detail on  
                  1: The Sentinel:
                  2. Wipeout
                  3.Yeah-Right!
                  4. Spearchucker

1. The Sentinel

           

The idea for this work came from the  character  "King George" portrayed by David Gulphill in the Basil Lehrmann film "Australia".  I used the above images as a guide to this piece.  The figure was deliberately elongated to give it stature and presence.

  In evolution

 

 

Just before mounting on the basee

 

Finish: Patinated bronze on balck ganite base.

Size:  78 cm high 25 cm deep and 10 cm wide 

Available

  2. Wipeout

Concept

Armature

 

Final

Finish:  Patinated bronze

Size:  55 cm high, 50cm wide, 10 cm deep

  3. Yeah-Right!

The Concept:

Begun as a doodle when talking on the phone to some officious person, this sculpture should be seen as a metaphor for 'the battle between Will' versus 'Wont'.  There are several deliberate distortions of fact in this sculpture.  The Pony has an elongated neck to bring its eye-line physically on a par with the human figure on its back. This Okapi-like device, emphasise the clash of wills and the raised indignation of the steed in being directed to do something it does not want to do.  The horse�s feet are grouped in a physically impossible way that implies that something is about to occur. Everything is at a critical point of balance in this sculpture		  

 

Armature and early construction

This image shows the density and cmplexity of the texture and colour in the human figure. It is finished to a porcelain-like sheen

  

Size: 52 cm high, 15 cm wide, 50cm wide

 

 

 4. Spearchucker

 

Size: 68.5 cm high, 20cm wide, 52.5cm deep

 

 

One of my students wanted to make a figure throwing a spear.  I made an armature to illustrate how he might tackle the project.  The armature was a bit out of proportion but I felt that this added to the movement in the work so made the piece deliberately wide of hip and narrow of shoulder as antithesis of the classic pose and proportions.  The work was then sealed with shellac and the natural variation of tone and colour of the shellac reacting with the cellulose cement created this highly striated, almost stone-like finish. White paint was applied and sanded back to soften the tones, before several layers of clear lacquer were sprayed over the surface to give it a polished stone or porcelain look

 

 

 

 
 
 
 
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