'Silvi-Skullpture Series - Wolf, Pine Beetle Track, 2011' by Shane Wilson (complete)
June 09, 2011 Categories: Silvi-Skullpture Series | Portfolio Images
'Silvi-Skullpture Series - Black Bear Birch, 2011' by Shane Wilson (complete)
June 09, 2011 Categories: Silvi-Skullpture Series | Portfolio Images
'Silvi-Skullpture Series - Black Bear Oak, 2011' by Shane Wilson (complete)
June 09, 2011 Categories: Silvi-Skullpture Series | Portfolio Images
'Silvi-Skullpture Series 2011' - Black Bear, Oak - Raw Bronze
May 12, 2011 Categories: Silvi-Skullpture Series
The raw bronze has been returned from the foundry.
Some of the gates and matrix from the casting process are still attached and will need to be ground away using carbide burrs and sanding disks.
This process is called 'chasing.'
Also, I will add some additional detailing directly into the bronze prior to finishing with a multicoloured patina.
'Silvi-Skullpture Series 2011' - Black Bear, Birch Bark- Raw Bronze
May 12, 2011 Categories: Silvi-Skullpture Series
The raw bronze has been returned from the foundry.
Some of the gates and matrix from the casting process are still attached and will need to be ground away using carbide burrs and sanding disks.
This process is called 'chasing.'
Also, I will add some additional detailing directly into the bronze prior to finishing with a multicoloured patina.
'Silvi-Skullpture Series 2011' - Wolf, Pine Beetle Track - Raw Bronze
May 12, 2011 Categories: Silvi-Skullpture Series
The raw bronze has been returned from the foundry.
Some of the gates and matrix from the casting process are still attached and will need to be ground away using carbide burrs and sanding disks.
This process is called 'chasing.'
Also, I will add some additional detailing directly into the bronze prior to finishing with a multicoloured patina.
'Integration' (Begin 1) by Shane Wilson
February 05, 2011 Categories: Integration
This enormous moose rack and partial skull was discovered high atop a rock-strewn mountain in southern Yukon.
It is 1.5 meters (5 ft) wide and each paddle is 91 cm (3 ft) high.
It will form the basis for the first of three major abstract works which I plan to create over the next decade or so.
The partial bone skull will be completed with a matching bronze partial skull, which will be integrated into a tapering floor mounted base.
'Integration' will be an integrated duality themed work, where the curved and angled elements will come together throughout the design.
The antlers have been moved into the office, so that I can live with them in order to work out design possibilities over the next year.
Next, I'll post the images and account of the recovery of this amazing set of antlers by Peter Harms, a Yukon teacher and outdoor enthusiast. It was quite the adventure!
[The second major abstract work planned will be carved from a complete, 3 meter (10 ft) long wooly mammoth tusk (~2018) and the third will be carved from a locked set of two large Yukon moose racks (~2021).]
It is 1.5 meters (5 ft) wide and each paddle is 91 cm (3 ft) high.
It will form the basis for the first of three major abstract works which I plan to create over the next decade or so.
The partial bone skull will be completed with a matching bronze partial skull, which will be integrated into a tapering floor mounted base.
'Integration' will be an integrated duality themed work, where the curved and angled elements will come together throughout the design.
The antlers have been moved into the office, so that I can live with them in order to work out design possibilities over the next year.
Next, I'll post the images and account of the recovery of this amazing set of antlers by Peter Harms, a Yukon teacher and outdoor enthusiast. It was quite the adventure!
[The second major abstract work planned will be carved from a complete, 3 meter (10 ft) long wooly mammoth tusk (~2018) and the third will be carved from a locked set of two large Yukon moose racks (~2021).]
'Skullpture Series - Moose: Gaia, 2009' (In Case) by Shane Wilson (carved bronze antler sculpture)
November 20, 2009 Categories: Gaia | Skullpture Series
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)
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)
'Self Portrait' - Photography Session with Gary Wildman
November 15, 2009 Categories: Self Portrait
Following the completion of any sculpture, it is important to have it photographed professionally.
Gary Wildman photographed 'Rest and Sing' a number of years ago and I called upon him again to photograph both 'Gaia' and 'Self Portrait.'
Gary Wildman, Photographer, photographs 'Self Portrait'
Gary took the utmost care, spending hours getting the lighting and exposures just right, to perfectly capture the sculptures as digital images - not an easy thing to do!
He is a true professional and a joy to work with! Visit his website at www.wildmanphotography.com .
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
Gary Wildman photographed 'Rest and Sing' a number of years ago and I called upon him again to photograph both 'Gaia' and 'Self Portrait.'
Gary Wildman, Photographer, photographs 'Self Portrait'
Gary took the utmost care, spending hours getting the lighting and exposures just right, to perfectly capture the sculptures as digital images - not an easy thing to do!
He is a true professional and a joy to work with! Visit his website at www.wildmanphotography.com .
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
'Skullpture Series - Moose: Gaia' - Photography Session with Gary Wildman
November 15, 2009 Categories: Gaia
Following the completion of any sculpture, it is important to have it photographed professionally.
Gary Wildman photographed 'Rest and Sing' a number of years ago and I called upon him again to photograph both 'Gaia' and 'Self Portrait.'
Gary Wildman, Photographer, lines up a photograph of 'Gaia'
Gary took the utmost care, spending hours getting the lighting and exposures just right, to perfectly capture the sculptures as digital images - not an easy thing to do!
Gary Wildman, Photographer, photographs 'Gaia'
He is a true professional and a joy to work with! Visit his website at www.wildmanphotography.com .
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Gary Wildman photographed 'Rest and Sing' a number of years ago and I called upon him again to photograph both 'Gaia' and 'Self Portrait.'
Gary Wildman, Photographer, lines up a photograph of 'Gaia'
Gary took the utmost care, spending hours getting the lighting and exposures just right, to perfectly capture the sculptures as digital images - not an easy thing to do!
Gary Wildman, Photographer, photographs 'Gaia'
He is a true professional and a joy to work with! Visit his website at www.wildmanphotography.com .
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Whole - Phase 3) by Shane Wilson (carved bronze antler sculpture)
November 14, 2009 Categories: Gaia
The sculpture is complete, with the addition of the signature and title. Since the sculpture can be separated into three distinct sections, I decided to sign the sculpture in three places: on each of the carved moose antlers and on the back of the bronze moose skull.
Now to travel to Vancouver to have this carved moose antler and bronze skull sculpture called 'Gaia' photographed, then on to Whitehorse and then Haines Junction in the Yukon, where 'Gaia' will find its permanent home.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Now to travel to Vancouver to have this carved moose antler and bronze skull sculpture called 'Gaia' photographed, then on to Whitehorse and then Haines Junction in the Yukon, where 'Gaia' will find its permanent home.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 24) by Shane Wilson (carved bronze antler sculpture)
November 14, 2009 Categories: Gaia
To finish the bronze sculpture is sprayed with two coats of lacquer and protected with two coats of Trewax, lightly buffed between coats.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 23) by Shane Wilson (carved bronze antler sculpture)
November 13, 2009 Categories: Gaia
The next patina to be applied is the 'Moroccan Blue', on the base and the lower portion of the moose skull. The principle component of this patina is cupric nitrate and it is applied on the hot, but not too hot, bronze surface.
In this case, I applied the patina with a large round bristle brush and both painted and flicked the patina onto the surface.
The image above shows the cupric applied to the heated bronze.
With cupric nitrate it is important to watch the heat closely so as not to scorch the patina, which would result in a rainbow coloured effect.
The second image shows the same patina after it has been quenched with water.
The metal is then reheated to remove moisture from the bronze, prior to the application of the final patina, a combination of cupric nitrate, ferric nitrate, chromium oxide and yellow ferric oxide, called 'Italian Green.'
(moose antler bronze skull carving, moose antler bronze skull sculpture)
In this case, I applied the patina with a large round bristle brush and both painted and flicked the patina onto the surface.
The image above shows the cupric applied to the heated bronze.
With cupric nitrate it is important to watch the heat closely so as not to scorch the patina, which would result in a rainbow coloured effect.
The second image shows the same patina after it has been quenched with water.
The metal is then reheated to remove moisture from the bronze, prior to the application of the final patina, a combination of cupric nitrate, ferric nitrate, chromium oxide and yellow ferric oxide, called 'Italian Green.'
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 22) by Shane Wilson (carved bronze antler sculpture)
November 13, 2009 Categories: Gaia
The final phase of the patination process involves the application of the nitrates and oxides. The first application is of silver nitrate, dabbed on to the hot metal with a round bristle brush. The heat draws the silver nitrate from the brush, creating the ring-like patterns.
The metal is quenched with water to set the silver patina onto the bronze moose skull, then the area is rubbed back with steel wool.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The metal is quenched with water to set the silver patina onto the bronze moose skull, then the area is rubbed back with steel wool.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 21) by Shane Wilson (carved bronze antler sculpture)
November 13, 2009 Categories: Gaia
Next the surface of the bronze sculpture is rubbed with #1 steel wool and the rougher recesses are scrubbed with a natural bristle brush, exposing a deep steel gray.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 20) by Shane Wilson (carved bronze antler sculpture)
November 13, 2009 Categories: Gaia
The bronze is then heated slowly and evenly until hot and the colour begins to change. For a sculpture this size, a propane fired 'Tiger Torch' is advisable, on a lowered setting.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 19) by Shane Wilson (carved bronze antler sculpture)
November 13, 2009 Categories: Gaia
When the Birchwood Casey has been allowed to sit on the bronze surface for 30 seconds, it is rinsed off with cold water.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 18) by Shane Wilson (carved bronze antler sculpture)
November 13, 2009 Categories: Gaia
The first step in the patination process is to determine the colour and texture of the desired look. A great book, which provides examples of patinas and their recipes, is Patinas for Silicon Bronze by Patrick Kipper.
I have chosen three different patinas for the bronze moose skull and base: 'Moroccan Blue' for the base and the lower portion of the moose skull; 'Italian Marble' for the forehead portion of the moose skull; and, 'Silver' for the mid portion of the moose skull, the raised leaf shape on the forehead and the elongated triangle which joins the base to the skull .
The first step to create these patinas is to spray the entire surface with a solution of Birchwood Casey (gun blueing) diluted 50% with distilled water. This is applied with a spray bottle onto the cold bronze surface.
You can see that the colour goes from a light copper to blue-black almost immediately.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
I have chosen three different patinas for the bronze moose skull and base: 'Moroccan Blue' for the base and the lower portion of the moose skull; 'Italian Marble' for the forehead portion of the moose skull; and, 'Silver' for the mid portion of the moose skull, the raised leaf shape on the forehead and the elongated triangle which joins the base to the skull .
The first step to create these patinas is to spray the entire surface with a solution of Birchwood Casey (gun blueing) diluted 50% with distilled water. This is applied with a spray bottle onto the cold bronze surface.
You can see that the colour goes from a light copper to blue-black almost immediately.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait, 2009' (Finished) by Shane Wilson (carved musk oxen skull on jade base)
November 15, 2009 Categories: Self Portrait | Portfolio Images
LINKS: Self Portrait - Complete Work in Progress Video
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 11) by Shane Wilson
November 14, 2009 Categories: Self Portrait
The final phase of the patination process involves the application of the nitrates and oxides, in this case: cupric nitrate, ferric nitrate, chromium oxide and yellow ferric oxide.
These are applied while the bronze is heated with a propane torch.
To fix the colour the surface is quenched with water, then reheated to remove the water.
To finish the bronze sculpture is sprayed with two coats of lacquer and protected with two coats of Trewax, lightly buffed between coats.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
These are applied while the bronze is heated with a propane torch.
To fix the colour the surface is quenched with water, then reheated to remove the water.
To finish the bronze sculpture is sprayed with two coats of lacquer and protected with two coats of Trewax, lightly buffed between coats.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 10) by Shane Wilson
November 13, 2009 Categories: Self Portrait
Next the surface of the bronze sculpture is rubbed with #1 steel wool and the rougher recesses are scrubbed with a natural bristle brush, exposing a deep steel gray.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 9) by Shane Wilson
November 13, 2009 Categories: Self Portrait
The next step is to rinse the bronze sculpture after about 30 seconds then heat the bronze surface slowly and evenly until hot and the colour begins to change.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 8) by Shane Wilson
November 13, 2009 Categories: Self Portrait
The first step in the patination process is to determine the colour and texture of the desired look. A great book, which provides examples of patinas and their recipes, is Patinas for Silicon Bronze by Patrick Kipper.
The patina I have chosen for the wolf skull is called 'Italian Marble'. The effect is a dark jade to emerald green over a black base coat. My intention is to reflect the colour of the jade base while retaining a dark undertone to pick up the dark tips of the musk oxen horns.
The first step to create this patina is to spray the surface with a solution of Birchwood Casey (gun blueing) diluted 50% with distilled water. This is applied with a spray bottle onto the cold bronze surface.
You can see that the colour goes from a light copper to blue-black almost immediately.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The patina I have chosen for the wolf skull is called 'Italian Marble'. The effect is a dark jade to emerald green over a black base coat. My intention is to reflect the colour of the jade base while retaining a dark undertone to pick up the dark tips of the musk oxen horns.
The first step to create this patina is to spray the surface with a solution of Birchwood Casey (gun blueing) diluted 50% with distilled water. This is applied with a spray bottle onto the cold bronze surface.
You can see that the colour goes from a light copper to blue-black almost immediately.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 17) by Shane Wilson (carved bronze antler sculpture)
November 12, 2009 Categories: Gaia
For this next phase, 'sandblasting', I searched Nanaimo for a business with a glass bead blaster. Red-D-Arc Welderentals has such a case and Wade Stannard, the proprietor, agreed to allow me its use.
Shane Wilson, Sculptor, prepares to glass bead blast. Photo by Bryan Peake
Glass beads take the place of sand in this process and create a finer finish.
Shane Wilson, Sculptor, glass bead blasting. Photo by Bryan Peake
Due to the higher cost of the beads, the blasting is done in an enclosed container, so that the beads drop to the bottom of the case and are recycled.
Back at the studio after sandblasting. Note the chemicals in the background, ready to be mixed and applied in the next phase.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Shane Wilson, Sculptor, prepares to glass bead blast. Photo by Bryan Peake
Glass beads take the place of sand in this process and create a finer finish.
Shane Wilson, Sculptor, glass bead blasting. Photo by Bryan Peake
Due to the higher cost of the beads, the blasting is done in an enclosed container, so that the beads drop to the bottom of the case and are recycled.
Back at the studio after sandblasting. Note the chemicals in the background, ready to be mixed and applied in the next phase.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 7) by Shane Wilson
November 12, 2009 Categories: Self Portrait
For this next phase, 'sandblasting', I searched Nanaimo for a business with a glass bead blaster. Red-D-Arc Welderentals has such a case and Wade Stannard, the proprietor, agreed to allow me its use.
Shane Wilson, Sculptor, glass bead blasting 'Self Portrait'. Photo by Bryan Peake
Glass beads take the place of sand in this process and create a finer finish.
Photo by Bryan Peake
Due to the higher cost of the beads, the blasting is done in an enclosed container, so that the beads drop to the bottom of the case and are recycled.
Photo by Bryan Peake
Once the bronze has been cleaned in this way, it is imperative that it not be touched by hand, since the transfer of oils will affect the uptake of the patina by the bronze.
Photo by Bryan Peake
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Shane Wilson, Sculptor, glass bead blasting 'Self Portrait'. Photo by Bryan Peake
Glass beads take the place of sand in this process and create a finer finish.
Photo by Bryan Peake
Due to the higher cost of the beads, the blasting is done in an enclosed container, so that the beads drop to the bottom of the case and are recycled.
Photo by Bryan Peake
Once the bronze has been cleaned in this way, it is imperative that it not be touched by hand, since the transfer of oils will affect the uptake of the patina by the bronze.
Photo by Bryan Peake
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Whole - Phase 2) by Shane Wilson (carved bronze antler sculpture)
November 11, 2009 Categories: Gaia
Two of the tines have been reduced on each antler. Turns out it was necessary to reduce about 6 inches total width.
The device below, consisting of a combination wooden template and marker grid on the floor, helped to establish the actual dimensions of the case and determine cut lines on the tines.
I'll be bringing one of my NSK micromotor grinders to make final adjustments should they be necessary, once the sculpture is mounted in the permanent display case.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The device below, consisting of a combination wooden template and marker grid on the floor, helped to establish the actual dimensions of the case and determine cut lines on the tines.
I'll be bringing one of my NSK micromotor grinders to make final adjustments should they be necessary, once the sculpture is mounted in the permanent display case.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Whole - Phase 1) by Shane Wilson (carved bronze antler sculpture)
November 10, 2009 Categories: Gaia
Both moose antlers are now fitted to the bronze moose skull.
The case that has been prepared for this sculpture, prior to the creation of the piece, measures 43 1/8" across. Now that I know exactly how wide the sculpture really is, I have discovered that I will need to trim about 3" from the width.
This will mean reducing the length of the outermost tines on both sides.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The case that has been prepared for this sculpture, prior to the creation of the piece, measures 43 1/8" across. Now that I know exactly how wide the sculpture really is, I have discovered that I will need to trim about 3" from the width.
This will mean reducing the length of the outermost tines on both sides.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 16) by Shane Wilson (carved bronze antler sculpture)
November 10, 2009 Categories: Gaia
The initial trial fitting has proven successful between the left moose antler and bronze moose skull.
The combination of the male/female fit and the rare earth magnet hold the antler and skull together!
This is no mean feat, since the downward force of the antler, out and away from the moose skull, is considerable.
I was very apprehensive about this stage, wondering if indeed the system would work.
I'll spend a few more hours refining the leveling and fit on both sides, before moving on to the next stage, sandblasting and applying the patina!
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The combination of the male/female fit and the rare earth magnet hold the antler and skull together!
This is no mean feat, since the downward force of the antler, out and away from the moose skull, is considerable.
I was very apprehensive about this stage, wondering if indeed the system would work.
I'll spend a few more hours refining the leveling and fit on both sides, before moving on to the next stage, sandblasting and applying the patina!
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 15) by Shane Wilson (carved bronze antler sculpture)
November 10, 2009 Categories: Gaia
Given both the outer dimensions of the male portion and the depth it will penetrate the antler, it is possible to calculate and carve out the negative space in the moose antler butt.
It is necessary to add the thickness of the magnet and washer to the height of the carved bronze square, and add the thickness of the special steel magnet washer (sold with the magnet and calculated to provide the maximum attractive surface).
The depth of the cut is established by drilling pilot holes to the appropriate depth.
The magnet washer is then attached to the antler with a flat head, stainless steel wood screw. When I am satisfied with the fit, the washer will be epoxied into each antler butt.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
It is necessary to add the thickness of the magnet and washer to the height of the carved bronze square, and add the thickness of the special steel magnet washer (sold with the magnet and calculated to provide the maximum attractive surface).
The depth of the cut is established by drilling pilot holes to the appropriate depth.
The magnet washer is then attached to the antler with a flat head, stainless steel wood screw. When I am satisfied with the fit, the washer will be epoxied into each antler butt.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 14) by Shane Wilson (carved bronze antler sculpture)
November 10, 2009 Categories: Gaia
The bronze skull has been drilled to mount the 1" rare earth magnet (Lee Valley Tools).
I have used a brass washer under the magnet to separate the stainless steel from the bronze to prevent the two metals from reacting with each other.
The rare earth magnet is fastened to the skull with a brass machine screw, washers and bolt.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
I have used a brass washer under the magnet to separate the stainless steel from the bronze to prevent the two metals from reacting with each other.
The rare earth magnet is fastened to the skull with a brass machine screw, washers and bolt.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 13) by Shane Wilson (carved bronze antler sculpture)
November 10, 2009 Categories: Gaia
In this phase, the square male portion has been rough carved onto the skull, calculating the dimensions by eye.
It will need to be leveled and trued to form a close fit with the moose antler butt.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
It will need to be leveled and trued to form a close fit with the moose antler butt.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 12) by Shane Wilson (carved bronze antler sculpture)
November 09, 2009 Categories: Gaia
I have decided to use a square shape, cut into the bronze moose skull, to act as the male portion of the fit between antler and skull.
It is important to check whether the size and shape of the male fitting can be cut into the antler butt without jeopardizing the structural integrity of the antler.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
It is important to check whether the size and shape of the male fitting can be cut into the antler butt without jeopardizing the structural integrity of the antler.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 11) by Shane Wilson (carved bronze antler sculpture)
November 07, 2009 Categories: Gaia
Heavy, heavy work! The chasing process on the moose skull is now nearly complete.
During the grinding portion of the chasing process, the flexible shaft on the Foredom H Series snapped under the strain. Fortunately I have two S Series models as back up!
I used 1/4" carbide, double fluted burrs to grind and smooth the surface, then sanded the entire sculpture with an angle grinder and flap wheel disk.
The next step involves fitting the bronze skull to the moose antlers and then installing the rare earth magnets.
Once this is finished, the whole will be sanded again, then sandblasted and the patina applied. I'm still not sure what colour that will be ...
(moose antler bronze skull carving, moose antler bronze skull sculpture)
During the grinding portion of the chasing process, the flexible shaft on the Foredom H Series snapped under the strain. Fortunately I have two S Series models as back up!
I used 1/4" carbide, double fluted burrs to grind and smooth the surface, then sanded the entire sculpture with an angle grinder and flap wheel disk.
The next step involves fitting the bronze skull to the moose antlers and then installing the rare earth magnets.
Once this is finished, the whole will be sanded again, then sandblasted and the patina applied. I'm still not sure what colour that will be ...
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 6) by Shane Wilson
November 04, 2009 Categories: Self Portrait
The chasing process is complete. The bronze appears in its natural colour.
I used a variety of carbide, double fluted burrs and diamond burrs to remove irregularities in the surface and finish the 'carving' process.
The surface was sanded with various flap wheels mounted on the 1/2 HP Foredom Flexible Shaft Grinder.
The next step is to prepare the surface to receive the patina. This will involve sandblasting the bronze to remove oils and impurities that are residual from the casting and chasing processes.
Because the natural colouration of the bronze is similar to the musk oxen horn, with which it will be displayed, my plan is to apply a basic blue-black patina and then scrub it back to reveal the natural bronze highlights.
The blue-black colour will create magnificent shadows and bring out the three dimensionality of the sculpture.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
I used a variety of carbide, double fluted burrs and diamond burrs to remove irregularities in the surface and finish the 'carving' process.
The surface was sanded with various flap wheels mounted on the 1/2 HP Foredom Flexible Shaft Grinder.
The next step is to prepare the surface to receive the patina. This will involve sandblasting the bronze to remove oils and impurities that are residual from the casting and chasing processes.
Because the natural colouration of the bronze is similar to the musk oxen horn, with which it will be displayed, my plan is to apply a basic blue-black patina and then scrub it back to reveal the natural bronze highlights.
The blue-black colour will create magnificent shadows and bring out the three dimensionality of the sculpture.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 10) by Shane Wilson (carved bronze antler sculpture)
October 23, 2009 Categories: Gaia
The moose skull portion has returned from the foundry and is ready to be chased and patinated.
Notice the nubs where the sprues have been removed. These will be ground down and disappear entirely during the chasing process.
The discolouration due to the welding process, where the moose skull was affixed to the base, will also be removed during the chasing process.
The join between the base post and the skull will appear to be seamless in the finished work.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Notice the nubs where the sprues have been removed. These will be ground down and disappear entirely during the chasing process.
The discolouration due to the welding process, where the moose skull was affixed to the base, will also be removed during the chasing process.
The join between the base post and the skull will appear to be seamless in the finished work.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 11) by Shane Wilson (carved bronze antler sculpture)
October 29, 2009 Categories: Gaia
The right moose antler is nearing completion. The design elements are now fully carved.
What remains is a once over to clean and sand the antler, smooth out the edges on the back of the antler that intersect with the design and then polish the whole.
The butt of the antler will be fitted to the skull and equipped with rare earth magnets to form a non-permanent, but solid, connection with the skull.
I am considering the idea of naming the sculpture "Gaia", after the theory of a living earth propounded by James Lovelock.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
What remains is a once over to clean and sand the antler, smooth out the edges on the back of the antler that intersect with the design and then polish the whole.
The butt of the antler will be fitted to the skull and equipped with rare earth magnets to form a non-permanent, but solid, connection with the skull.
I am considering the idea of naming the sculpture "Gaia", after the theory of a living earth propounded by James Lovelock.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 10) by Shane Wilson (carved bronze antler sculpture)
October 22, 2009 Categories: Gaia
The carving seems to be designing itself as I go along. As the other half has become a flowing tapestry of life, particularly marine life, this half has adopted a linear, modern, industrial/technical feel.
Lately, I have been wondering about my longstanding preoccupation with the theme of duality, as reflected in the curves and angles of my sculpture.
The theme of duality represents polar opposite aspects of the human condition: left-right, rational-spiritual, capitalism-socialism, synthetic-natural, fundamentalism-freedom, complexity-simplicity, wealth-poverty, light-dark, us-them, open-closed, off-on, and so on.
It is hard to name an issue, problem, or topic where there isn't controversy or polarization.
But why do these aspects of duality, represented by curved and angled shapes, seem to want to appear together in my sculpture, creating a new, integrated form?
Perhaps the integration of opposites in my sculpture suggests an approach to resolving the dilemmas we face in our time: a holding together of opposite points of view or approaches within one solution.
One of the great problems we face today is human generated climate heating, predicted to adversely affect everyone and everything on Earth.
The integrative approach suggests the solution to climate heating will be found in both nature and technology, working together.
The climate crisis offers humanity the potential for a new beginning: a symbiotic relationship with all other living organisms and the planet itself.
That's a lot of freight for a few angles and curves in bone and bronze!
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Lately, I have been wondering about my longstanding preoccupation with the theme of duality, as reflected in the curves and angles of my sculpture.
The theme of duality represents polar opposite aspects of the human condition: left-right, rational-spiritual, capitalism-socialism, synthetic-natural, fundamentalism-freedom, complexity-simplicity, wealth-poverty, light-dark, us-them, open-closed, off-on, and so on.
It is hard to name an issue, problem, or topic where there isn't controversy or polarization.
But why do these aspects of duality, represented by curved and angled shapes, seem to want to appear together in my sculpture, creating a new, integrated form?
Perhaps the integration of opposites in my sculpture suggests an approach to resolving the dilemmas we face in our time: a holding together of opposite points of view or approaches within one solution.
One of the great problems we face today is human generated climate heating, predicted to adversely affect everyone and everything on Earth.
The integrative approach suggests the solution to climate heating will be found in both nature and technology, working together.
The climate crisis offers humanity the potential for a new beginning: a symbiotic relationship with all other living organisms and the planet itself.
That's a lot of freight for a few angles and curves in bone and bronze!
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 5) by Shane Wilson
September 30, 2008 Categories: Self Portrait
The wax has been cast in bronze by 'In Bronze' based in Langley, B.C. The final grinding (chasing) and finishing (patina) have yet to be done. I'll complete the carving of the horns before going further on the skull, in order to ensure that the skull's design remains consistent with the overall design.
LINKS: Work in Progress Video
LINKS: Work in Progress Video
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 14) by Shane Wilson (carved bronze antler sculpture)
October 01, 2009 Categories: Gaia
The left moose antler is nearing completion. The design elements are now fully carved.
What remains is a once over to clean and sand the antler, smooth out the edges on the back of the antler that intersect with the design and then polish the whole.
Once the bronze moose skull returns from the foundry, the butt of the antler will be fitted to the skull and equipped with rare earth magnets to form a non-permanent, but solid, connection with the skull.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
What remains is a once over to clean and sand the antler, smooth out the edges on the back of the antler that intersect with the design and then polish the whole.
Once the bronze moose skull returns from the foundry, the butt of the antler will be fitted to the skull and equipped with rare earth magnets to form a non-permanent, but solid, connection with the skull.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 13) by Shane Wilson (carved bronze antler sculpture)
September 29, 2009 Categories: Gaia
In this phase, the carving of shape and detail has been extended into the midsection of the left moose antler (seen upside down).
Several decisions were made concerning design elements to be kept, changed or lost during the carving process. Can you spot them?
In order to work the surface to create a smooth appearance, the 1/8" rounded over cone, high speed steel burr, from Dremel was used.
To create sharp edges and borders, I used the 1/8" expanded cylinder high speed steel burr, also from Dremel.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Several decisions were made concerning design elements to be kept, changed or lost during the carving process. Can you spot them?
In order to work the surface to create a smooth appearance, the 1/8" rounded over cone, high speed steel burr, from Dremel was used.
To create sharp edges and borders, I used the 1/8" expanded cylinder high speed steel burr, also from Dremel.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 12) by Shane Wilson (carved bronze antler sculpture)
September 26, 2009 Categories: Gaia
I have worked the lower portion of the left moose antler, refining the design and bringing the carving near to its final stage.
The design attempts to make use of the massive thickness of antler in this section for shape and contour, while making it seem, at the same time, as light as air.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 11) by Shane Wilson (carved bronze antler sculpture)
September 22, 2009 Categories: Gaia
In this phase the lower portion of the left moose antler has been carved, further roughing out the design while feeling my way along to the proper placement of the various shapes relative to each other.
Since this area will project towards the viewer, it is important to consider how the design will look not only from above but also from the front.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Since this area will project towards the viewer, it is important to consider how the design will look not only from above but also from the front.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 9) by Shane Wilson (carved bronze antler sculpture)
September 19, 2009 Categories: Gaia
In this phase, I have gone over the whole surface of the antler to refine the shapes and smooth the surfaces.
The principle tool used was the NSK EMax with 1/8" cone and rounded over straight burrs.
For the refinements to the outline of the sculpture along the moose antler tines, I used the larger 1/4" straight burr on the S Series Foredom.
I had to be careful while using the Foredom, to keep the flexible shaft in as open a curve as possible to avoid stress on the inner wire. There were occasions where I need to bend the shaft in an acute manner for brief periods, so it was necessary to monitor the sheathing for overheating.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The principle tool used was the NSK EMax with 1/8" cone and rounded over straight burrs.
For the refinements to the outline of the sculpture along the moose antler tines, I used the larger 1/4" straight burr on the S Series Foredom.
I had to be careful while using the Foredom, to keep the flexible shaft in as open a curve as possible to avoid stress on the inner wire. There were occasions where I need to bend the shaft in an acute manner for brief periods, so it was necessary to monitor the sheathing for overheating.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 8) by Shane Wilson (carved bronze antler sculpture)
September 16, 2009 Categories: Gaia
In this phase, I have returned to the right antler to finish roughing out the lower moose antler palm and the central section which joins the antler palms.
The diamonds and spheres or 'bubbles' have been positioned in and around the borders in the central section. Due to the thickness of the moose antler at this point, the effort required to rough in these shapes has been considerable.
Note that three of the tines have been trimmed for consistency of design. They will be shaped later so as not to be noticeable as cut.
The angular theme is carried out onto the bottom moose antler palm, with some curvy accents.
The Foredom S Series with a variety of 1/4" burrs with the addition of the NSK Electer and 1/8" and 3/32" burrs were used to rough out and do the preliminary cleaning in this phase.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The diamonds and spheres or 'bubbles' have been positioned in and around the borders in the central section. Due to the thickness of the moose antler at this point, the effort required to rough in these shapes has been considerable.
Note that three of the tines have been trimmed for consistency of design. They will be shaped later so as not to be noticeable as cut.
The angular theme is carried out onto the bottom moose antler palm, with some curvy accents.
The Foredom S Series with a variety of 1/4" burrs with the addition of the NSK Electer and 1/8" and 3/32" burrs were used to rough out and do the preliminary cleaning in this phase.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 9) by Shane Wilson (carved bronze antler sculpture)
September 11, 2009 Categories: Gaia
In this phase, the wax moose skull was taken to In Bronze Foundry in Langley, B.C. Canada to be cast in bronze.
Francois Deschenes, In Bronze, Langley, B.C. Canada and Shane Wilson, Sculptor
Once the two parts are cast (moose skull and base), Francois will weld them together and level the base so that it sits flat.
Francois Deschenes from In Bronze, calculates the cost to cast "Skullpture Moose"
According to Francois' calculations, the bronze elements will weigh a little over 36kgs or 80lbs when complete.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Francois Deschenes, In Bronze, Langley, B.C. Canada and Shane Wilson, Sculptor
Once the two parts are cast (moose skull and base), Francois will weld them together and level the base so that it sits flat.
Francois Deschenes from In Bronze, calculates the cost to cast "Skullpture Moose"
According to Francois' calculations, the bronze elements will weigh a little over 36kgs or 80lbs when complete.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 8) by Shane Wilson (carved bronze antler sculpture)
September 10, 2009 Categories: Gaia
To create the base, I borrowed a large stainless steel bowl from the kitchen (yes, it will likely need to be replaced) and brushed several layers of wax in the shape intended for the base. I brushed wax over a larger area than I planned to use, and cut it back once the wax was removed from the bowl mold.
The next step was to fashion and attach an upright bar with triangular profile, which will be welded to the back of the bronze moose skull nose, meshing seamlessly from the front with the triangular element in the nose.
The entire surface of the base was flamed with the torch to even the surface and thin the wax to casting tolerances. Again, the wax is a little thicker, to accommodate the weight of the sculpture and form a stable anchor.
Once cast in bronze, the base will be ground to lie flat. I am considering possible design elements to be carved into the base, but may leave it as is with a simple patina, so as not to distract attention from the bronze moose skull and antler sculpture above.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The next step was to fashion and attach an upright bar with triangular profile, which will be welded to the back of the bronze moose skull nose, meshing seamlessly from the front with the triangular element in the nose.
The entire surface of the base was flamed with the torch to even the surface and thin the wax to casting tolerances. Again, the wax is a little thicker, to accommodate the weight of the sculpture and form a stable anchor.
Once cast in bronze, the base will be ground to lie flat. I am considering possible design elements to be carved into the base, but may leave it as is with a simple patina, so as not to distract attention from the bronze moose skull and antler sculpture above.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 7) by Shane Wilson (carved bronze antler sculpture)
September 09, 2009 Categories: Gaia
Three views of the wax moose skull prior to the journey to the foundry to be cast in bronze.
The remainder of the design has been carved into the wax: pointed ovals on the left side and extended diamonds on the right side, to correspond to the elements in the respective carved moose antlers.
It is important to note that the work of creating the sculpture in bronze does not end with the wax. Once the skull is cast in bronze it will be possible to further refine the design and add carved embellishments.
In addition to the design considerations, wax has been melted away from the underside of the moose skull with a torch. The optimum thickness for the wax is 3/8". I have left the wax thicker across the skull and along the nose, to create additional support in the bronze for the weight of the antlers.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The remainder of the design has been carved into the wax: pointed ovals on the left side and extended diamonds on the right side, to correspond to the elements in the respective carved moose antlers.
It is important to note that the work of creating the sculpture in bronze does not end with the wax. Once the skull is cast in bronze it will be possible to further refine the design and add carved embellishments.
In addition to the design considerations, wax has been melted away from the underside of the moose skull with a torch. The optimum thickness for the wax is 3/8". I have left the wax thicker across the skull and along the nose, to create additional support in the bronze for the weight of the antlers.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 6) by Shane Wilson (carved bronze antler sculpture)
September 04, 2009 Categories: Gaia
After several days working a variety of designs on paper, I have settled for something relatively simple that focuses on three design elements from the carved moose antlers: circles or bubbles, extended diamonds and pointed oval shapes.
The central panel of the bronze moose skull will host the circle/bubble element primarily, with one extended diamond element within the nose and extending into the base, and one pointed oval shape in the centre of the forehead.
The principle tool used to shape the wax is a Weller WLC200 Adjustable Power Soldering Station with a Chisel tip.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The central panel of the bronze moose skull will host the circle/bubble element primarily, with one extended diamond element within the nose and extending into the base, and one pointed oval shape in the centre of the forehead.
The principle tool used to shape the wax is a Weller WLC200 Adjustable Power Soldering Station with a Chisel tip.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 5) by Shane Wilson (carved bronze antler sculpture)
August 31, 2009 Categories: Gaia
In this phase, the wax moose skull halves have been joined and the antler stubs have been capped. This is to accommodate the rare earth magnets which will form part of the attachment mechanism between antler and skull.
Since the moose antlers I am using for this sculpture were shed by a moose a few years older than the one used for the mold, I have added wax to the upper portion of the skull.
As moose age, the size of the skull remains the same but the thickness of the upper skull and antler stubs increase to accommodate larger antlers, which grow in size and thickness as the moose matures.
This appears visually as a flattening out or smoothing of the upper moose skull.
It is now time to complete the design for the moose skull.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Since the moose antlers I am using for this sculpture were shed by a moose a few years older than the one used for the mold, I have added wax to the upper portion of the skull.
As moose age, the size of the skull remains the same but the thickness of the upper skull and antler stubs increase to accommodate larger antlers, which grow in size and thickness as the moose matures.
This appears visually as a flattening out or smoothing of the upper moose skull.
It is now time to complete the design for the moose skull.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 4) by Shane Wilson (carved bronze antler sculpture)
August 28, 2009 Categories: Gaia
Once the top and bottom of the moose skull are trimmed to fit together, I begin the process of trimming the portions of the skull that are not needed in the final sculpture. Due to the weight and cost of bronze, it is essential to use just the right amount of wax in the portion of the skull that will be cast.
In this pic, I am working primarily on the lower portion of the moose skull. Most of the lower portion of the moose skull will not be visible in the final sculpture, so it is possible to trim most of it. This will also enhance the design of carving on the moose skull, since there won't be an inner, lower surface to distract from the design on the upper portion of the moose skull.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
In this pic, I am working primarily on the lower portion of the moose skull. Most of the lower portion of the moose skull will not be visible in the final sculpture, so it is possible to trim most of it. This will also enhance the design of carving on the moose skull, since there won't be an inner, lower surface to distract from the design on the upper portion of the moose skull.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 3) by Shane Wilson (carved bronze antler sculpture)
August 26, 2009 Categories: Gaia
The wax halves of the moose skull are trimmed with a heat knife, shown below, and then placed together to determine fit.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 2) by Shane Wilson (carved bronze antler sculpture)
August 26, 2009 Categories: Gaia
The wax duplicates of each half of the moose skull are then removed from the molds. Note the wax flange that will need to be trimmed away.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 1) by Shane Wilson (carved bronze antler sculpture)
August 24, 2009 Categories: Gaia
I have begun work on the bronze moose skull.
A year ago I completed a moose skull mold, taken from the moose skull used in the pics of the Beginning Phase of this sculpture.
Due to the large size of the mold the wax is laid in layer upon layer into the top and bottom sections of the mold until it reaches the desired thickness, about 1/4".
(moose antler bronze skull carving, moose antler bronze skull sculpture)
A year ago I completed a moose skull mold, taken from the moose skull used in the pics of the Beginning Phase of this sculpture.
Due to the large size of the mold the wax is laid in layer upon layer into the top and bottom sections of the mold until it reaches the desired thickness, about 1/4".
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 10) by Shane Wilson (carved bronze antler sculpture)
August 21, 2009 Categories: Gaia
The changes to the angular portion of the left moose antler marked on the antler in Phase 9 have been carved out using the Foredom grinders and burrs mentioned in previous phases.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 9) by Shane Wilson (carved bronze antler sculpture)
August 20, 2009 Categories: Gaia
In this phase, I have worked to mark refinements in the design of the carved angular portions of the left moose antler.
Complexity of design is an important part of my sculpture. But when the design creates visual confusion, as I believe it did here, it needs to be reworked. The eye should be able to travel freely over the sculpture without becoming 'trapped' or 'mired' in visual 'dead ends' or 'swampy' design.
My goal is complexity without confusion.
The angular elements on the left antler had not been completely thought through during the initial design phase and were creating visual confusion.
Since most of the roughing out portion is now complete it is possible to see how the design functions in the actual antler.
After careful study, I have been able to correct the angular portions by creating strips which travel straight until they bend at an angle. They are not all continuous, but serve to frame the rest of the design within the antler as well as providing structural support for the carving.
The lower portion of the left moose antler has been marked for further carving adjustments.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Complexity of design is an important part of my sculpture. But when the design creates visual confusion, as I believe it did here, it needs to be reworked. The eye should be able to travel freely over the sculpture without becoming 'trapped' or 'mired' in visual 'dead ends' or 'swampy' design.
My goal is complexity without confusion.
The angular elements on the left antler had not been completely thought through during the initial design phase and were creating visual confusion.
Since most of the roughing out portion is now complete it is possible to see how the design functions in the actual antler.
After careful study, I have been able to correct the angular portions by creating strips which travel straight until they bend at an angle. They are not all continuous, but serve to frame the rest of the design within the antler as well as providing structural support for the carving.
The lower portion of the left moose antler has been marked for further carving adjustments.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 7) by Shane Wilson (carved bronze antler sculpture)
August 13, 2009 Categories: Gaia
In this phase, I have cleaned up the carving on the upper portions of the moose antler using the same tools as the last phase, the Foredom S and H Series Flexible Shaft Grinders, with large, 1/4" single fluted, carbide burrs.
The detailed elements evident in the initial design will be added back into the carving when the antler is fully roughed out.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 6) by Shane Wilson (carved bronze antler sculpture)
August 07, 2009 Categories: Gaia
In this phase, I have begun to rough out the carving on the right moose antler.
This is the stage where critical choices are made along each border in the design about which planes come forward and which planes recede.
The choices regarding plane placement are a little more straightforward on the right antler. One thing I will need to watch is the depth of the planes relative to the depth available in the antler since there are large multiple intersecting planes each requiring a portion of the depth available.
As you can see there isn't a lot of depth to work with, so it will be a bit of challenge to create the shapes in a way which does not make the design appear overly flat.
All of the carving at this stage is done with Foredom S and H Series Flexible Shaft Grinders, with large, 1/4" single fluted, carbide burrs.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
This is the stage where critical choices are made along each border in the design about which planes come forward and which planes recede.
The choices regarding plane placement are a little more straightforward on the right antler. One thing I will need to watch is the depth of the planes relative to the depth available in the antler since there are large multiple intersecting planes each requiring a portion of the depth available.
As you can see there isn't a lot of depth to work with, so it will be a bit of challenge to create the shapes in a way which does not make the design appear overly flat.
All of the carving at this stage is done with Foredom S and H Series Flexible Shaft Grinders, with large, 1/4" single fluted, carbide burrs.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 8) by Shane Wilson (carved bronze antler sculpture)
July 30, 2009 Categories: Gaia
In this phase, the left moose antler has been carved with attention to the lower portion of the antler.
I have begun to define the planes on the design elements on the lower palm and establish where all the design elements come together in the butt of the moose antler.
Areas left undone at this point include the major tine, with its deformity. I hope to carry the diamond shape over from the right moose antler to use in this area.
Consistent with the work so far, the tools remain the same: Foredom S and H Series, with 1/4" shank burrs (straight and rounded over shapes), and some tight angle work with the NSK and a 1/8" shank straight burr.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
I have begun to define the planes on the design elements on the lower palm and establish where all the design elements come together in the butt of the moose antler.
Areas left undone at this point include the major tine, with its deformity. I hope to carry the diamond shape over from the right moose antler to use in this area.
Consistent with the work so far, the tools remain the same: Foredom S and H Series, with 1/4" shank burrs (straight and rounded over shapes), and some tight angle work with the NSK and a 1/8" shank straight burr.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series' - On Display In Cases
May 14, 2009 Categories: Skullpture Series
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 - Moose: Gaia' (Left Antler - Phase 7) by Shane Wilson (carved bronze antler sculpture)
July 24, 2009 Categories: Gaia
In this phase I have continued to carve the left moose antler with large Foredom grinders and 1/4" burrs. I have also made some use of the smaller NSK Emax micro-motor with 1/8" burrs to begin to get into some of the tight angles.
In this detail shot you can see how the design elements are beginning to 'find their place' in relation to each other, but the carving is still very rough.
There is much more antler to work with toward the antler's base, so I will use this depth of material to weave the design elements in greater relief, just hinted at in this preliminary stage.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
In this detail shot you can see how the design elements are beginning to 'find their place' in relation to each other, but the carving is still very rough.
There is much more antler to work with toward the antler's base, so I will use this depth of material to weave the design elements in greater relief, just hinted at in this preliminary stage.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 5) by Shane Wilson (carved bronze antler sculpture)
July 20, 2009 Categories: Gaia
In this phase the negative spaces in the moose antler have been removed, leaving material around the cuts to refine and adjust the moose antler carving in the next phase.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 4) by Shane Wilson (carved bronze antler sculpture)
July 20, 2009 Categories: Gaia
In this phase, I have drilled the pilot holes in the moose antler with a drill press and begun to 'join the dots' with a sabre saw/jig saw. I used to use a scroll saw with a multidirectional blade for this kind of work, but learned from fellow carver, Lynn Holroyd, that a sabre saw/jig saw works just as well and allows for more control when cutting larger moose antlers, which can be clamped, freeing the hands to work the saw.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 5) by Shane Wilson (carved bronze antler sculpture)
July 21, 2009 Categories: Gaia
In this phase, the left moose antler the negative spaces have been cut out of the antler with the sabre saw/scroll saw.
Make sure you use good blades of a reasonable narrow width. Mine were DeWalt 3", 12 TPI blades made from cobalt steel.
Normally I go through 10-20 scroll saw blades when cutting the negative spaces from a moose antler before carving. This time, I removed the waste antler from both the left and right moose antlers and only lost one blade!
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Make sure you use good blades of a reasonable narrow width. Mine were DeWalt 3", 12 TPI blades made from cobalt steel.
Normally I go through 10-20 scroll saw blades when cutting the negative spaces from a moose antler before carving. This time, I removed the waste antler from both the left and right moose antlers and only lost one blade!
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 6) by Shane Wilson (carved bronze antler sculpture)
July 21, 2009 Categories: Gaia
In this phase, I have begun to rough out the carving on the left moose antler.
This is the stage where critical choices are made along each border in the design about which planes come forward and which planes recede.
All of the carving at this stage is done with Foredom S and H Series Flexible Shaft Grinders, with large, 1/4" single fluted, carbide burrs.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
This is the stage where critical choices are made along each border in the design about which planes come forward and which planes recede.
All of the carving at this stage is done with Foredom S and H Series Flexible Shaft Grinders, with large, 1/4" single fluted, carbide burrs.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 4) by Shane Wilson (carved bronze antler sculpture)
July 20, 2009 Categories: Gaia
I used the band saw to remove the obvious cuts on the outer edges of the moose antler.
Before cutting out the negative spaces on the inside of the design, it is necessary to drill pilot holes in the moose antler to receive the blade from either a scroll saw or a sabre saw/jig saw.
In the past, I used smaller diameter bits in an electric drill, but I have found that the larger diameter bits in a drill press make life a whole lot easier.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Before cutting out the negative spaces on the inside of the design, it is necessary to drill pilot holes in the moose antler to receive the blade from either a scroll saw or a sabre saw/jig saw.
In the past, I used smaller diameter bits in an electric drill, but I have found that the larger diameter bits in a drill press make life a whole lot easier.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 3) by Shane Wilson (carved bronze antler sculpture)
July 14, 2009 Categories: Gaia
It is always a good idea to let design ideas sit for a while. I find that it is possible to see and correct weak areas and add interest and complexity. The red areas will be removed to create negative space within the design.
On the left moose antler, I have clarified the design shapes, added negative space elements within the shapes and included spherical elements within those shapes. My hope is that the overall design will tie into the previously created sculptures in the Skullpture Series.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
On the left moose antler, I have clarified the design shapes, added negative space elements within the shapes and included spherical elements within those shapes. My hope is that the overall design will tie into the previously created sculptures in the Skullpture Series.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 3) by Shane Wilson (carved bronze antler sculpture)
July 16, 2009 Categories: Gaia
It is always a good idea to let design ideas sit for a while. I find that it is possible to see and correct weak areas and add interest and complexity. The red areas will be removed to create negative space within the design.
On the right moose antler, this involved simplifying some of the design shapes and the addition of round elements both as negative spaces and positive shapes, again to tie into the design on the left antler and relate to other sculptures in the Skullpture Series.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
On the right moose antler, this involved simplifying some of the design shapes and the addition of round elements both as negative spaces and positive shapes, again to tie into the design on the left antler and relate to other sculptures in the Skullpture Series.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Black Bear 1, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series | Portfolio Images
(bronze carving, carved bronze sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 2) by Shane Wilson (carved bronze antler sculpture)
July 04, 2009 Categories: Gaia
In this phase the design was transfered free-hand onto the right moose antler, after the moose antler was sanded lightly with an angle grinder to clean and smooth out the surface.
In the next phases I'll determine where the negative spaces will be located within the design, cut those out, and rough in the major planes on the moose antler.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
In the next phases I'll determine where the negative spaces will be located within the design, cut those out, and rough in the major planes on the moose antler.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 2) by Shane Wilson (carved bronze antler sculpture)
July 04, 2009 Categories: Gaia
In this phase the design was transfered free-hand onto the left moose antler, after the moose antler was sanded lightly with an angle grinder to clean and smooth out the surface.
In the next phases I'll determine where the negative spaces will be located within the design, cut those out, and rough in the major planes on the moose antler.
Shane Wilson designing moose antler carving on left moose antler
(moose antler bronze skull carving, moose antler bronze skull sculpture)
In the next phases I'll determine where the negative spaces will be located within the design, cut those out, and rough in the major planes on the moose antler.
Shane Wilson designing moose antler carving on left moose antler
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 1) by Shane Wilson (carved bronze antler sculpture)
July 04, 2009 Categories: Gaia
In this phase I photographed the right moose antler and printed it out on paper to create the design, making use of some of the natural lines within the moose antler. (Note: I am designating this antler as the right antler, since it appears on the right when viewed, so it is the observer's right)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 1) by Shane Wilson (carved bronze antler sculpture)
July 04, 2009 Categories: Gaia
In this phase I photographed the left moose antler and printed it out on paper to create the design, making use of some of the natural lines within the moose antler. (Note: I am designating this antler as the left antler, since it appears on the left when viewed, so it is the observer's left)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Begin) by Shane Wilson (carved bronze antler sculpture)
July 04, 2009 Categories: Gaia
This moose antler carving and bronze moose skull will be the final installment in my Skullpture Series, 2007.
The moose antlers will be designed and carved and will attached to a cast carved moose skull. The original skull is shown here and used for measurement purposes.
A mold will be taken from the skull and a wax pulled from that mold. The wax will then be carved with the design and then cast in bronze using the lost wax process.
This sculpture is designed to fit in this specific location, so the sculpture will need to adhere to very specific dimensions.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The moose antlers will be designed and carved and will attached to a cast carved moose skull. The original skull is shown here and used for measurement purposes.
A mold will be taken from the skull and a wax pulled from that mold. The wax will then be carved with the design and then cast in bronze using the lost wax process.
This sculpture is designed to fit in this specific location, so the sculpture will need to adhere to very specific dimensions.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Seal 2, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series | Portfolio Images
(bronze carving, carved bronze sculpture)
'Skullpture Series - Small Wolverine 1, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series | Portfolio Images
(bronze carving, carved bronze sculpture)
'Skullpture Series' - Display Cases - Phase 5
April 06, 2009 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
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' (Carving and Patination - Phase 1) by Shane Wilson
September 01, 2005 Categories: Skullpture Series
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' (Carving and Patination - Phase 2) by Shane Wilson
August 01, 2007 Categories: Skullpture Series
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 3) by Shane Wilson
August 15, 2007 Categories: Skullpture Series
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 4) by Shane Wilson
August 16, 2007 Categories: Skullpture Series
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 5) by Shane Wilson
August 25, 2007 Categories: Skullpture Series
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 6) by Shane Wilson
August 31, 2007 Categories: Skullpture Series
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' (Wax to Bronze - Phase 11) by Shane Wilson
July 11, 2003 Categories: Skullpture Series
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 12) by Shane Wilson
July 11, 2003 Categories: Skullpture Series
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 13) by Shane Wilson
July 15, 2003 Categories: Skullpture Series
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 14) by Shane Wilson
July 15, 2003 Categories: Skullpture Series
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 15) by Shane Wilson
July 16, 2003 Categories: Skullpture Series
The freed bronze, with sprues still attached.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 16) by Shane Wilson
July 17, 2003 Categories: Skullpture Series
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 1) by Shane Wilson
July 04, 2003 Categories: Skullpture Series
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' (Wax to Bronze - Phase 2) by Shane Wilson
July 04, 2003 Categories: Skullpture Series
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 4) by Shane Wilson
July 08, 2003 Categories: Skullpture Series
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 5) by Shane Wilson
July 08, 2003 Categories: Skullpture Series
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 6) by Shane Wilson
July 08, 2003 Categories: Skullpture Series
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 7) by Shane Wilson
July 09, 2003 Categories: Skullpture Series
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 8) by Shane Wilson
July 09, 2003 Categories: Skullpture Series
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 9) by Shane Wilson
July 10, 2003 Categories: Skullpture Series
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 10) by Shane Wilson
July 10, 2003 Categories: Skullpture Series
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' (Large Mold - Phase 12) by Shane Wilson
July 03, 2003 Categories: Skullpture Series
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 1) by Shane Wilson
July 01, 2003 Categories: Skullpture Series
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' (Large Mold - Phase 11) by Shane Wilson
July 03, 2003 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
The clay is built up to the half way point on the skull and smoothed out.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 3) by Shane Wilson
July 05, 2003 Categories: Skullpture Series
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' (Small Mold - Phase 4) by Shane Wilson
July 01, 2003 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
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 Categories: Skullpture Series
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 - Human 1, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series | Portfolio Images
(bronze carving, carved bronze sculpture)
'Skullpture Series - Human 2, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series | Portfolio Images
(bronze carving, carved bronze sculpture)
'Skullpture Series - Grizzly 2, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series | Portfolio Images
(bronze carving, carved bronze sculpture)
'Skullpture Series' - Display Cases Complete
May 06, 2009 Categories: Skullpture Series
(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' (Beginning) by Shane Wilson
June 29, 2003 Categories: Skullpture Series
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)
'Skullpture Series - Black Bear 2, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series | Portfolio Images
(bronze carving, carved bronze sculpture)
'Skullpture Series' by Shane Wilson
May 06, 2009 Categories: Skullpture Series | Portfolio Images
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)
'Self Portrait' (Beginning) by Shane Wilson (musk oxen horns and bronze skull)
January 30, 2008 Categories: Self Portrait
(musk oxen horn carving, musk oxen horn sculpture)(bronze carving, carved bronze sculpture)
The intention for this commission, is that I carve something of my own design from a set musk oxen horns and partial skull.
The horns come from Banks Island in the Northwest Territories. Musk Oxen were reintroduced on the island some years ago and have flourished, due in part to lack of natural predation. It is therefore necessary to cull the herd each year, to keep the size of the herd sustainable, and it is from this cull that these horns were taken.
After playing with a variety of ideas for this sculpture, I have settled on the notion of an abstract self-portrait, combining the musk ox horn with a bronze human skull. The horn lends itself to a life 'story', starting narrowly in the black on one side (birth), growing to a massive middle with a break (midlife), and narrowing again to black on the other side (death). The skull presides over its life story and remains, along with some of life's fruit, when the story is done.
'Self Portrait' (Bronze Wolf Skull - Phase 1) by Shane Wilson
June 10, 2008 Categories: Self Portrait
I have given the skull portion of this sculpture much thought. The human skull does not seem to work with the overall design. I find it too large for the carved horns, overwhelming them. Experimenting with different skull possibilities, I believe I have found a skull which works much better with the carved horn, a wolf skull.
Not only are wolves and musk oxen found together on the tundra, the design of the skull works well with the architecture of the horns. The lines within the skull mimic the curve of the horns and the overall effect of the skull and horn set is an organic unity resembling a prehistoric bird, a pteradacyl-like creature.
So, while the original design intention remains, that of a self-portrait, a second layer of design complexity is added, that of the possibility that this creation is a creature unto itself. Perhaps this serendipity of design illustrates how one's life-work can take on a life of its own?
The image shows the skull in its wax form, prior to carving and casting. The next step is to carve the wax, so that the pattern reflects and amplifies the overall design of the carved antler. The skull is positioned facing right, or the future, considering possiblities yet to be ...
(bronze carving, carved bronze sculpture)(musk oxen horn carving, musk oxen horn sculpture)
Not only are wolves and musk oxen found together on the tundra, the design of the skull works well with the architecture of the horns. The lines within the skull mimic the curve of the horns and the overall effect of the skull and horn set is an organic unity resembling a prehistoric bird, a pteradacyl-like creature.
So, while the original design intention remains, that of a self-portrait, a second layer of design complexity is added, that of the possibility that this creation is a creature unto itself. Perhaps this serendipity of design illustrates how one's life-work can take on a life of its own?
The image shows the skull in its wax form, prior to carving and casting. The next step is to carve the wax, so that the pattern reflects and amplifies the overall design of the carved antler. The skull is positioned facing right, or the future, considering possiblities yet to be ...
(bronze carving, carved bronze sculpture)(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 2) by Shane Wilson
June 17, 2008 Categories: Self Portrait
In this phase the wax skull has been reduced to clean the lines and remove excess material from the bottom of the skull. The nose and eyebrow portion have been textured along the nose to mimic the rough portion of the musk oxen horn.
In the picture below, you can see some of the tools used to sculpt wax: dental pics, wax carving tools, scewdriver, butane torch, wax paper, heat pencil.
(bronze carving, carved bronze sculpture)(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 3) by Shane Wilson
June 20, 2008 Categories: Self Portrait
In this phase a negative space has been created along the length of the nose and forehead to echo the space between the two horns. I have begun to add the abstract detail to the left side and experiment with negative space around these details. This type of wax is not ideal for carving, since it is very soft and somewhat sticky, however the main shapes and design elements can be roughed out easily enough. The final detail will be honed in the bronze itself, after casting.
The manner in which the bronze wolf skull and muskoxen horns will be mounted together has been much on my mind. As a temporary measure, you can see that I am using pieces of styrofoam to position the skull. As for a permanent solution, it would be a shame to add a support element that distracts or obscures the carving. I think I like the idea of the skull floating (or appearing to float) above the carved horns. A clear acrylic pillar may be the best solution, allowing the skull and horns to be fixed together, while appearing as if one is floating above the other. The pillar could extend through the horns to a base, allowing the horns to float above the base as well.
(bronze carving, carved bronze sculpture)(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 4) by Shane Wilson
June 24, 2008 Categories: Self Portrait
I have completed roughing in the left and right sides of the wax wolf skull. Each side's design echos elements from the carving below it. The balance of the skull will remain uncarved, to remain consistent with the tips of the horns and to keep the focus of the whole on the carving itself.
(bronze carving, carved bronze sculpture)(musk oxen horn carving, musk oxen horn sculpture)