When moulding and casting a clay portrait it feels like a magical process. A wonderful alchemy that transforms the simplicity of a shape made from earth into a new form.
In this most recent commission, I wanted to create a white finish to the final piece. This meant I was going to need to create a fibreglass sculpture rather than using resin with a bronze finish.
The first photograph is taken after applying the rubber mould. The care taken at this stage will ensure the fine details in the clay form are represented in the rubber impression.
Once the rubber has cured, a fibreglass casing, or jacket, is built over the top to give structure to the rubber mould when it is being used.
In the second photograph, it shows the careful removal of the two layers once they were dry.
The third photograph shows the mould is in the process of being used to create my first copy of the original sculpture. The buttons, or “buddies” ensure the two halves are lined up correctly.
If this stage has gone well then the sculpture should appear cleanly from the mould as seen in the fourth photograph. Frequently, there will be a visible sign of the seam between the two halves. Careful sanding will remove most of these lines.
Now. we are ready for the final stage. But that has not happened yet.
More photographs to follow.