He's finally done -- Peppy Poco ChaCha.
As you might have noticed, it took much longer than I thought it would. When I started on this little diversion of a project, back in January, I thought this would be easily completed within a couple of months. Right. Sigh.
Then I got all excited in August when I finished the main sculpture and Barry made a waste mold so that I could have a hard resin master to work on. Just add a mane and tail. No big deal. Right... Sigh...
Except it turned out that the tail had to be carefully designed as a support and balance structure. Just a wee bit of engineering. That was the last blog entry. In September. Sigh...
Since then tale of the mane and tail has become my main obsession.
Quite often, I have been disdainful of manes and tails as a sculptor. Especially manes. They only cover up all that gorgeous neck structure that I love so well. And, let's face it, other artisans like to customize manes and tails to create a unique piece, so why not make it easy for them by not having a cascade of mane that will just be dremelled off anyway. (Is "dremel" officially a verb yet? If so I suppose I can properly use a past-tense version...) So for the past few years I've kept manes pretty sparse.
But now I was faced with a dynamic sculpture demanding that a complete story about movement be told. Where did that movement begin? Where is it going? How fast?
Beyond depicting the structure of bone and exertion of muscle and what visual element do you have to work with? Hair. Long silky hair.
I think there's a nice flow when all's said and done.
But how did we get here? Lot's of layers:
A note here about the tail. I started out being very swirly and curly, a highly dynamic sculpture in it's own right. But that didn't work with the overall design of the piece. Too busy, too eye-pokey for an area of the sculpture that is intended to depict a pivot point. It was more show than flow. In the end the idea of "Flow" won out.
Happy Holidays ~ Lynn