Skullpture Series
'Skullpture Series - Moose: Gaia, 2009' (In Case) by Shane Wilson (carved bronze antler sculpture)
November 20, 2009
The final sculpture in the Skullpture Series, Gaia, has been installed in its permanent home in the custom made display cases in the St Elias Convention Centre in Haines Junction, Yukon.
The unveiling will take place on Saturday, November 21, 2009, during a community celebration of Haines Junction's 25th year of incorporation as a municipality.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The unveiling will take place on Saturday, November 21, 2009, during a community celebration of Haines Junction's 25th year of incorporation as a municipality.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia, 2009' (Finished) by Shane Wilson (carved bronze antler sculpture)
November 15, 2009
LINKS: Gaia - Complete Work in Progress Video
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series' - On Display In Cases
May 14, 2009
The carved bronze Skullpture Series is now on display in its permanent home in the St Elias Convention Centre in Haines Junction, Yukon, Canada.
All that remains to complete this body of work is the carved moose antler and bronze moose skull sculpture, 'Moose 1', which will be displayed in the large end display case.
Progress on this sculpture can be seen by clicking in the sidebar on Skullpture Series - Moose.
(bronze skullpture carving, bronze skull sculpture)
LINKS - Skullpture Series Information Sheets on Display:
SkullptureSeries2007
SkullptureSeries-WIP
SkullptureSeries-Bio
All that remains to complete this body of work is the carved moose antler and bronze moose skull sculpture, 'Moose 1', which will be displayed in the large end display case.
Progress on this sculpture can be seen by clicking in the sidebar on Skullpture Series - Moose.
(bronze skullpture carving, bronze skull sculpture)
LINKS - Skullpture Series Information Sheets on Display:
SkullptureSeries2007
SkullptureSeries-WIP
SkullptureSeries-Bio
'Skullpture Series' - Display Cases Complete
May 06, 2009
(bronze skullpture carving, bronze skull sculpture)
These show cases in the St Elias Convention Centre, a work of art in themselves, are complete and ready to display the carved bronze Skullpture Series. Total cost $53,000 CND. An unveiling of the carved bronze Skullpture Series, in their wonderful new home, is planned for the evening of Wednesday, May 13, 2009, at the Convention Centre in Haines Junction, Yukon.
'Skullpture Series' by Shane Wilson
May 06, 2009
Skullpture Series, 2007 by Shane Wilson (carved bronze skulls) - Artist Statement
"Just as a fossil uncovered is evidence of life, so too, this carved bronze Skullpture Series reflects the architecture of being alive."
Shane Wilson
Skullpture Series - Black Bear 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Grizzly 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Human 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Large Wolverine 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Seal 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Small Wolverine 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Wolf 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
(bronze skullpture carving, bronze skull sculpture)
"Just as a fossil uncovered is evidence of life, so too, this carved bronze Skullpture Series reflects the architecture of being alive."
Shane Wilson
Skullpture Series - Black Bear 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Grizzly 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Human 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Large Wolverine 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Seal 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Small Wolverine 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Wolf 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
(bronze skullpture carving, bronze skull sculpture)
'Skullpture Series' - Display Cases - Phase 5
April 06, 2009
The case is finished, complete with lighting and mirrored interiors, which will enable the carved bronze Skullptures to be viewed from a variety of angles. Once the flooring around the case is completed, the carved bronze Skullpture Series will be installed and unveiled.
Note that the larger display cubicle does not have mirrored sides or back. The carved antler and bronze moose skull sculpture will be intended for viewing from the front only. This cubicle will be used to display work from the local quilters association until the carved antler and bronze moose skull sculpture is complete and ready for installation.
(bronze and antler skullpture carving, bronze and antler skull sculpture)
Note that the larger display cubicle does not have mirrored sides or back. The carved antler and bronze moose skull sculpture will be intended for viewing from the front only. This cubicle will be used to display work from the local quilters association until the carved antler and bronze moose skull sculpture is complete and ready for installation.
(bronze and antler skullpture carving, bronze and antler skull sculpture)
'Skullpture Series', 2007 by Shane Wilson (carved bronze) - Display Cases - Phase 4
February 23, 2009
The third row is roughed in.
The milk crates are being used to determine the size of the base that will be created to accommodate the bronze moose skull and carved antler sculpture. It was necessary to determine the dimensions of the sculpture as well at his point. (See the related blog entry which shows the antlers chosen for this sculpture.)
(bronze and antler skullpture carving, bronze and antler skull sculpture)
The milk crates are being used to determine the size of the base that will be created to accommodate the bronze moose skull and carved antler sculpture. It was necessary to determine the dimensions of the sculpture as well at his point. (See the related blog entry which shows the antlers chosen for this sculpture.)
(bronze and antler skullpture carving, bronze and antler skull sculpture)
'Skullpture Series', 2007 by Shane Wilson (carved bronze) - Display Cases - Phase 3
February 18, 2009
The second row is roughed in.
(bronze and antler skullpture carving, bronze and antler skull sculpture)
(bronze and antler skullpture carving, bronze and antler skull sculpture)
'Skullpture Series', 2007 by Shane Wilson (carved bronze) - Display Cases - Phase 2
February 16, 2009
The first row and the large cubicle at the end, which will face away at 90 degrees, are roughed in.
(bronze and antler skullpture carving, bronze and antler skull sculpture)
(bronze and antler skullpture carving, bronze and antler skull sculpture)
'Skullpture Series', 2007 by Shane Wilson (carved bronze) - Display Cases - Phase 1
January 29, 2009
The display case begins to take shape. The floor covering around the case has been removed.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series', 2007 by Shane Wilson (carved bronze) - Display Cases - Plans
September 09, 2008
The display cases have been designed to house the Skullpture Series. Note how the display case will fit nicely into the beautiful curved staircase of the St. Elias Convention Centre. The architect for the Convention Centre was contracted to develop the plans for the cases, so that that they would appear consistent with the overall design.
(bronze carving, carved bronze sculpture)
Skullpture Display Case - Plans
(bronze carving, carved bronze sculpture)
Skullpture Display Case - Plans
'Skullpture Series - Seal 2, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007
(bronze carving, carved bronze sculpture)
'Skullpture Series - Black Bear 2, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007
(bronze carving, carved bronze sculpture)
'Skullpture Series - Black Bear 1, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007
(bronze carving, carved bronze sculpture)
'Skullpture Series - Small Wolverine 1, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007
(bronze carving, carved bronze sculpture)
'Skullpture Series - Human 1, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007
(bronze carving, carved bronze sculpture)
'Skullpture Series - Human 2, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007
(bronze carving, carved bronze sculpture)
'Skullpture Series - Grizzly 2, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Carving and Patination - Phase 6) by Shane Wilson
August 31, 2007
The patina is fragile and needs to be protected by a couple of coats of lacquer. Since the lacquer lends a plastic look to surface, two coats of Trewax are applied and buffed to dull the surface down and provide additional protection. Voila, the finished bronzes!
The bronzes will be photographed professionally and I'll post the images as they become available.
(bronze carving, carved bronze sculpture)
The bronzes will be photographed professionally and I'll post the images as they become available.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Carving and Patination - Phase 5) by Shane Wilson
August 25, 2007
Finally it is time to apply the patina! There are numerous oxidizing agents available for patination, all lending a unique look and colour to the bronze. I have chosen to use bismuth nitrate (with varying additions of titanium oxide) and silver nitrate for the human skull and some accents on other pieces (eg. wolverine). The patina is also applied by brush, lending a unique, ringed pattern to the finish. The patina is applied to a hot bronze surface, made so with an open flamed torch. Following the application the entire surface is quenched in water and reheated to dry the bronze and set the patina. The pics below show the patination set up and a variety of pieces in various stages of completion. Note the patina seems much whiter than it will appear after the final coat of lacquer is applied.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Carving and Patination - Phase 4) by Shane Wilson
August 16, 2007
The next stage is to apply the base coat, which in this case is an application of Birchwood Casey applied cold and then rinsed. An alternative base coat would be liver of sulphur, also applied cold. Following the rinsing, the bronze is heated to set the base coat and then the whole is rubbed back with steel wool.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Carving and Patination - Phase 3) by Shane Wilson
August 15, 2007
Prior to patination, it is important to clean the surface of the bronze, to remove impurities and any surface oxidation. The most effective way to do this is to sandblast the surface with a fine grit sand. It is important to avoid touching the surface of the bronze with bare hands after this process, as it will pick up oils and create uneven application/oxidization of the patina.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Carving and Patination - Phase 2) by Shane Wilson
August 01, 2007
Using power grinders and carbide burrs, designed for metal work, the designs are carved and the bases are completed using black granite. Following the carving the surface is smoothed with sandpaper, depending on the kind of patination to be applied. (2004-2007)
Below are a selection of images taken during this phase.
Skullpture Series - Seal 2
Skullpture Series - Large Wolverine 1
Skullpture Series - Grizzly 2
Skullpture Series - Human 2
Skullpture Series - Human 1
Skullpture Series - Wolf 2
(bronze carving, carved bronze sculpture)
Below are a selection of images taken during this phase.
Skullpture Series - Seal 2
Skullpture Series - Large Wolverine 1
Skullpture Series - Grizzly 2
Skullpture Series - Human 2
Skullpture Series - Human 1
Skullpture Series - Wolf 2
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Carving and Patination - Phase 1) by Shane Wilson
September 01, 2005
The designs for each carving are drawn directly onto the raw bronze prior to carving. (2004-2005) The bronzes below are in various states of design and carving, all preliminary. Two of the skulls (small wolverine and grizzly) were finished and patinated without being carved. I decided to change this later and carved both skulls.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 16) by Shane Wilson
July 17, 2003
The sprues have been cut off with a torch and/or hacksaw. Any cracks or holes have been filled with a welder using bronze rods. The irregularities have been 'chased' or ground smooth, using burrs and air tools. Then the whole bronze has been sandblasted to create an even surface prior to carving.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 15) by Shane Wilson
July 16, 2003
The freed bronze, with sprues still attached.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 14) by Shane Wilson
July 15, 2003
The remainder of the shell is removed using and air point chisel, and hand chisels.
The inner surfaces are particularly challenging to free of shell.
(bronze carving, carved bronze sculpture)
The inner surfaces are particularly challenging to free of shell.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 13) by Shane Wilson
July 15, 2003
I am using a sledge hammer to loosen the shell from the bronze.
The bronze appears!
(bronze carving, carved bronze sculpture)
The bronze appears!
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 12) by Shane Wilson
July 11, 2003
Once the metal has cooled sufficiently, it is removed to another work area, preferably outside!
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 11) by Shane Wilson
July 11, 2003
Once the bronze is brought up to the right temperature, the crucible, containing the molten bronze, is removed with a large pair of tongs, operated by two people.
The crucible is placed in the carrying device ...
... which allows the handlers to pour the bronze.
(bronze carving, carved bronze sculpture)
The crucible is placed in the carrying device ...
... which allows the handlers to pour the bronze.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 10) by Shane Wilson
July 10, 2003
The HOT shells are secured by chains in the sandpit. Note the protective clothing and gear.
A close up of the secured, hot, ceramic shells.
(bronze carving, carved bronze sculpture)
A close up of the secured, hot, ceramic shells.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 9) by Shane Wilson
July 10, 2003
The bronze furnace is heated. Note the piece of bronze on the lid, which is 'drying' prior to insertion in the crucible.
As the bronze is heating, the ceramic shells are replaced in the kiln and heated/dried prior to the pour. This is necessary to avoid cracking or an explosion, due to the shock of hot bronze contacting a cold shell and or moisture.
The final piece of bronze is melted.
(bronze carving, carved bronze sculpture)
As the bronze is heating, the ceramic shells are replaced in the kiln and heated/dried prior to the pour. This is necessary to avoid cracking or an explosion, due to the shock of hot bronze contacting a cold shell and or moisture.
The final piece of bronze is melted.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 8) by Shane Wilson
July 09, 2003
The cured shell is allowed to cool, then inspected for cracks. The drill hole is patched and the cracks are repaired with a special cement.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 7) by Shane Wilson
July 09, 2003
Once dry, the shell is drilled from the end opposite the end that will receive the bronze. It is then turned upsidedown in a kiln and the wax is melted out of the shell, as the shell is cured.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 6) by Shane Wilson
July 08, 2003
The sculpture is dipped thirteen times and covered in courser grades of sand. This pic shows the wolverine/seal assembly in an early stage of dipping, and the grizzly skull after its final dip.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 5) by Shane Wilson
July 08, 2003
After spruing, the entire assembly is dipped in a cement-like slurry, then covered in fine silica sand.
It is then placed on a wire shelf and allowed to dry throuroughly (2 hours). Air tubes are inserted to allow inner surfaces an equal chance to dry.
(bronze carving, carved bronze sculpture)
It is then placed on a wire shelf and allowed to dry throuroughly (2 hours). Air tubes are inserted to allow inner surfaces an equal chance to dry.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 4) by Shane Wilson
July 08, 2003
This is a pic of the wolverine and seal skulls as they are being sprued up with wax rods. The intention is to create a path for the bronze to enter the sculptures and to allow air and bronze to escape, filling the sculpture completely with bronze.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 3) by Shane Wilson
July 05, 2003
The molds have been tested, then sealed up and filled with hot wax. The wax is allowed to cool for a few minutes, forming a shell against the mold. When the shell is about 1/4" thick the remaining liquid wax is poured back into the melting pot. We used a large crock pot to melt the wax and keep it at a suitable temperature over an extended period.
Not all attempts as pulling a suitable wax from the mold are successful. The beauty of wax is that it can be remelted and used again. Note some of the successful waxes visible along the back of the bench.
(bronze carving, carved bronze sculpture)
Not all attempts as pulling a suitable wax from the mold are successful. The beauty of wax is that it can be remelted and used again. Note some of the successful waxes visible along the back of the bench.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 2) by Shane Wilson
July 04, 2003
The two halves have been trimmed and assembled. Though the cast version will use a single wax taken from the attached mold, this give some impression of the wax prior to casting.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 1) by Shane Wilson
July 04, 2003
Wax has been poured into the two halves of the mold to test the quality of the mold.
The first wax impression from this mold!
(bronze carving, carved bronze sculpture)
The first wax impression from this mold!
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 12) by Shane Wilson
July 03, 2003
Repeat of step 11. Note that there were two high points on this side. Two holes were drilled. When the lower high point filled, it was covered with clay, to allow the rest of the mold to fill.
Gently pry the mold apart after allowing the silicone to set fully.
Separate the silicone from the original.
(bronze carving, carved bronze sculpture)
Gently pry the mold apart after allowing the silicone to set fully.
Separate the silicone from the original.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 11) by Shane Wilson
July 03, 2003
Take the lower portion of the mold off, turn the sculpture, silicone and fibreglass over and repeat the previous steps to make the second half of the mold and shell.
Repeat of steps 4-10. Note that once the second fibreglass shell is complete, holes are drilled through both flanges and bolts with wing nuts are inserted. Use a grinder or sawsall to trim the rough fibreglass edge.
When trimming the molds with the sawsall and grinder, make sure that separation of the molds is achieved. Though the fibreglass will bind on the edges, it should not have bound on the surface treated with the grease.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 10) by Shane Wilson
July 03, 2003
Clean out the filler clay, repair the flange, spray the entire sculpture and fringe with release, then add a silicone bead around the inner portion of the flange ...
... Drill a hole in the highest point of the fibreglass shell and reattach to the sculpture and flange, using reference points. Pour in silicone mold compound slowly, to allow air to escape.
(bronze carving, carved bronze sculpture)
... Drill a hole in the highest point of the fibreglass shell and reattach to the sculpture and flange, using reference points. Pour in silicone mold compound slowly, to allow air to escape.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 9) by Shane Wilson
July 02, 2003
When hardened and dry, remove the fibreglass from the sculpture, after drilling reference holes around the flange. Insert screws into the reference holes in the clay.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 8) by Shane Wilson
July 02, 2003
Add an extra layer of matt and resin around the flange for additional support.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 7) by Shane Wilson
July 02, 2003
Layer resin and fibreglass. Tear the fibreglass matt and touch to the resin...
... then tamp in with a brush and resin.
(bronze carving, carved bronze sculpture)
... then tamp in with a brush and resin.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 6) by Shane Wilson
July 02, 2003
I am painting on a mizture of 4 parts Bondo (with 1" hardener) to one part resin (with one squeeze of hardener, mixed first).
Be careful not to get this stuff on the styrofoam, as it dissolved readily!
Complete and allowed to harden.
(bronze carving, carved bronze sculpture)
Be careful not to get this stuff on the styrofoam, as it dissolved readily!
Complete and allowed to harden.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 5) by Shane Wilson
July 02, 2003
A release agent is painted on prior to adding the fibreglass. In this case it is axle grease cut with thinner!
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 4) by Shane Wilson
July 01, 2003
I have begun to add another 3/8" layer of clay over the skull to create a space for the latex, once the fibreglass shell is created.
Note, this second layer of clay covers the skull only and does not extend onto the original 'flange' of clay.
(bronze carving, carved bronze sculpture)
Note, this second layer of clay covers the skull only and does not extend onto the original 'flange' of clay.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 3) by Shane Wilson
July 01, 2003
Duct Tape or Saran Wrap is placed over the skull to protect it during the next phase.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 2) by Shane Wilson
July 01, 2003
The clay is built up to the half way point on the skull and smoothed out.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 1) by Shane Wilson
July 01, 2003
I have determined a centre line for the two-piece mold and have begun to build up around the base, in order to create the mold for the top half.
Note the use of styrofoam and synthetic clay. If you look carefully, you can see the pencil mark used to determine the centre line.
(bronze carving, carved bronze sculpture)
Note the use of styrofoam and synthetic clay. If you look carefully, you can see the pencil mark used to determine the centre line.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Small Mold - Phase 4) by Shane Wilson
July 01, 2003
This is a shot of several other of the small molds in various stages of creation. The second half of the small wolverine mold has been completed.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Small Mold - Phase 3) by Shane Wilson
June 30, 2003
Once the silicone has set, remove the outer wall of the mold. Leaving the skull embedded in the silicone, remove the plastercine and free the skull from the plywood base. Flip it over and redo the wall, sealing all edges and gaps with plastercine. Spray the entire surface with a release agent and pour the lower portion of the mold.
These pictures give you a sense of what the top half of the mold looks like. Note that the pencil indentations are now little knobs, which will mesh nicely with the poured lower half. Note also how much excess silicone is used in this process.
(bronze carving, carved bronze sculpture)
These pictures give you a sense of what the top half of the mold looks like. Note that the pencil indentations are now little knobs, which will mesh nicely with the poured lower half. Note also how much excess silicone is used in this process.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Small Mold - Phase 2) by Shane Wilson
June 30, 2003
The silicone has been poured. There are a variety of silicone products available, this is a Smooth On product. Follow directions carefully for the mixing of the silicone components; each product comes with its own specific directions.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Small Mold - Phase 1) by Shane Wilson
June 30, 2003
To create a silicone mold from a skull there are a few options, two of which I used in the creation of the molds for the Skullpture Series. For smaller items the molds created were of solid silicone. The larger grizzly skull mold was created inside a fibre glass shell, to reduce the amount of silicone used, saving both cost and weight.
All molds begin by securing the skull to a plywood base. Then it is important to decide on a mid point on the skull, along which the mold will divide. There should be no serious overhangs or undercuts, which would hang up the mold and prevent it from being separated.
In these images, the small wolverine skull has been attaced to the plywood base and a centre line has been drawn on the skull in pencil crayon.
I have fashioned a wall around the skull with a milk carton and filled the carton with plastercine, up to the predetermined midway point on the skull.
Using the other end of the pencil crayon, guide holes have been made in the plastercine. The entire surface has been sprayed with a release agent, prior to pouring in the silicone, which will create the top half of the mold.
(bronze carving, carved bronze sculpture)
One further note: the mold is being fashioned from silicone, because it can be reused. If I were interested in creating a 'one off', other materials would have been cheaper and more suitable, like plaster. The process of creating the mold remains the same.
All molds begin by securing the skull to a plywood base. Then it is important to decide on a mid point on the skull, along which the mold will divide. There should be no serious overhangs or undercuts, which would hang up the mold and prevent it from being separated.
In these images, the small wolverine skull has been attaced to the plywood base and a centre line has been drawn on the skull in pencil crayon.
I have fashioned a wall around the skull with a milk carton and filled the carton with plastercine, up to the predetermined midway point on the skull.
Using the other end of the pencil crayon, guide holes have been made in the plastercine. The entire surface has been sprayed with a release agent, prior to pouring in the silicone, which will create the top half of the mold.
(bronze carving, carved bronze sculpture)
One further note: the mold is being fashioned from silicone, because it can be reused. If I were interested in creating a 'one off', other materials would have been cheaper and more suitable, like plaster. The process of creating the mold remains the same.
'Skullpture Series' (Beginning) by Shane Wilson
June 29, 2003
skulls left to right: grizzly, black bear, wolf, fox, beaver, lynx, large wolverine, martin, seal, small wolverine, human
The Skullpture Series begins with real skulls. Each skull has been prepped for the mold making process. The natural holes have been filled with Chavant clay to prevent the intrusion of silicone into the skull.
It is necessary to create molds from each of the skulls in order to create wax duplicates, which will then be cast in bronze.
small wolverine skull
Since the technique used to prepare the molds differs depending on the size of the object to be cast, we will follow the mold making process for a small skull, small wolverine (above), and a large skull, grizzly (below).
grizzly skull
(bronze carving, carved bronze sculpture)