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Created: Thursday, 02 January 1997 06:50
Every artist dreams of a fine studio where the working process will be effective aod pleasant. The studio is the sculptor's work place and, as any contemporary work setting, it should be designed especially for sculpting. Its atmosphere should help to generate creativity, a sense of optimism and enthusiasm.
If I were to win the lotto, here's how I would construct my studio. The sculpture studio would be spacious. If the artist were working with clay only, the studio would be a minimum of 24 feet long and 18 feet wide, with a 14-foot high ceiling. If the sculptor waots to create a largescale sculpture, working in multimedia, the carving studio should be larger. It would be better to build the studio on the ground level of the building, to give easy access to aod from the studio. It should have a minimum of two access doors: one regular or double door aod aoother wide, full, high warehouse-type door. The first would be used as an entry door; the second, for bringing in materials aod heavy equipment aod for moving out sculptures. Along with the main studio space, it would be preferable to have two smaller spaces: one for the office with a computer, office table, drafting table, file cabinets, telephone and small storage space for drawing aod drafting materials, and another, for casting with concrete, a 4-foot by 3-foot casting basin, shelving for molds, casting tools aod master models.
The studio would be lit with soft, uniformly distributed light. During daytime, the light would come through windows and skylights located on the north side of the building. Ifthe windows were located 6-feet from the fmished floor along the entire north wall, with skylights at the same length taking one-third of the width of the ceiling, the studio would have . uniform lighting during most of the day.
For working at night, the artist would waot the studio to have incandescent lights, located between the windows aod skylights along the entire north wall. This would help by having the light come in at the same angle at which it was present during the daylight hours.
An electrical paoel with breakers is always located in ao accessible place close to the entry door. It would 'be necessary to have several receptacles: 120V for movable lighting, and electrical outlets of 360V or 480V for heavy equipment and machinery.
The floor in the studio could be concrete. The part of the floor where the sculptor would be working most of the time should be covered with an isolation mat or commercial carpet to keep the artist's feet from getting cold. It would also be necessary to provide a floor drain in the studio.
Sculptors working with clay prefer lightgray or cream-colored walls. The color green causes less fatigue for the eyes aod would be appropriate for this space, too. It would be handy to have a big mirror on one of the walls. That would help the artist to observe the sculpture during its creation "from a distance."
A room for resting and shower should be accessible from the studio and office area. A mop sink aod lavatory could be located inside the studio.
Seldom is a sculpture studio equipped with an air conditioner. Only rooms where the artist stores wax master models or makes ceramic molds for bronze casting need one, but the studio should have ventilation and local exhaust aod heating systems.
A contemporary sculpture studio should have contemporary equipment and good, professional tools. It would be desirable to have lifting equipment. It could be a heavy crane, a hydraulic lifting device, or a movable crane for moving aod lifting sculptures and materials. It would also be desirable to build a platform, located on the upper level of the studio, for observing a sculpture from its top view.
Every sculptor uses different types of materials in the studio: lumber, stone, plaster, glue, epoxy, different metals, etc. A separate storage room would help keep all these materials haody and avoid a mess in the studio. The materials could be stored inside the studio on special shelves or in cabinets. Well designed shelving and cabinets would help orgaoize a working space aod keep tools and materials accessible.
During modeling, a sculptor needs to see different parts of the sculpture aod the model at eye-level. It would be necessary to have a sculpture stand for clay sculpture aud for a model. There are different styles of stands on the market. The best stand would be one that would be movable, with a turntable, adjustable in height, and rigid and strong enough to support at least 200 pounds. Ideally, there would be at least two staods: one for a model aod another for a clay sculpture. Often the artist needs more stands: for small sculptures and sketches, for large work, for relief, etc. Using these stands, the artist can work comfortably on different elevations of the sculpture and can turn the clay sculpture and model to the same angle to compare outlines. The artist could move both of them close to the mirror located on the wall to see the model and sculpture at the same time, from the same visual angle, with the same lighting.
It would also be nice to have a movable tool chest close to the podium for the sculpting tools in use, a water spray bottle, rags, and other equipment. The rest of the tools and equipment could be located inside the cabinets or on the shelves along the walls.
The most precious modeling tools are the sculptor's haods, but the sculptor can find useful some maoufactured modeling tools as well. There are a number of tools which cao help the artist to reach tiny areas, inaccessible to the fingers. The wire clay cutter with two handles is used for slicing and cutting lumps of clay. There are different shapes of clay tools for shaping and finishing work. They are manufactured from wood, plastic, ivory and metal and come in different sizes. Wire-end tools (curettes) for light cutting aod trimming of clay are haody for working on small areas of the sculpture. A wooden mallet can be used for establishing the plaos aod shaping a large sculpture. An aluminum caliper is an irreplaceable tool for accurate outside and inside measurements. A set of calipers are useful for preserving exact proportions during enlargement or diminution of the clay sculpture against the model or sketch. Over time, the clay is likely to lose the moisture aod become too dry. It needs to be sprayed with water. Usually a spray bottle is good enough for this job, but for a large sculpture it is necessary to have a spray hand pump that can supply a larger volume of water.
Along with these tools strictly for modeling, the sculptor must use different craftsman tools, like a plumb for finding a vertical reference line, a level for establishing horizontal surfaces of the staod or of the sculpture itself. For building ao armature, the sculptor may need to use a hammer, drill, saw, bench vice, pliers, screwdrivers, tools for metal work, welding equipment and more. For working with plaster, making a mold, and retouching ready plaster casting, the artist needs a set of special tools: vessels for mold mix or plaster preparation, forged steel plaster tools, scrapers, chisels, trimmers and knives.
REGARDING STONE
It is a not good idea to carve stone in the same studio where you are working with clay. There is much dust and stone chips flying in the air during carving. Some of the chips can damage the soft clay surface of the sculpture. Dust is not a good companion for clay either. The clay model should be clean during sculpting.
It would be better to have a separate room or studio for carving, or use outdoor space for this work. This studio often will be used for direct carving and copying from a scaled model, for enlargement using different types of techniques, and for using power tools and haod tools. A carving studio needs to be more spacious.
A preferable location for outdoor studio space from the point of view of lighting would be the north side of the building. It could be covered with transparent mat plastic and enclosed with a high fence to protect strangers from injury from flying chips.
The carving studio would be different from the sculpting studio. It would have a wet area for finishing and working with power tools. There would be a compressor in the studio and machines for polishing, cutting, grinding, drilling, soldering and welding. There would be a metal workshop for maintenaoce of mechanical equipment. The studio would be equipped with corresponding lifting equipment, which would have enough capacity to lift heavy stone, move it in and out of the studio, and move machinery around the studio. The carving studio would look more like an industrial shop, and it could be designed structurally like an industrial shop. It would consume more energy than a clay sculpting studio, and the electrical system would have to be designed keeping this in mind.
Artists who are using marble for sculpture prefer dark brown colors or red colors for the walls of the studio to provide a contrast to the marble. The lighting would be designed almost identically to that of a clay sculpting studio. Drains with a manual cleaning trap for stone particles would be necessary to provide for the wet area of the studio. The carving space would need an intensive exhaust and ventilation system.
It is important to remember that the studio is not only for sculpting. It is also utilized for social, cultural and marketing events. Friends, clients and students can view the sculptor at work. The studio space can be a setting for exhibits aod for teaching classes. It holds ao importaot place in the community, where people can come to view art and the creative process.
Of course, not every artist can afford to build a perfect studio. But, in the meantime, we can dream.
If you have any questions about planning or constructing a studio for creating sculpture, please give Boris Spivak a call at 814-9563.
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Created: Thursday, 02 January 1997 06:40
Reality is not particularly user friendly, yet I still feel the need to do periodic reality checks on most aspects of my life. I'm not sure whether the need to always be "realistic" about everything is a nature or nurture issue, but whichever, it's always there for me and not necessarily always a swell attribute. There is the added phenomena that, to some degree, reality is relative - to the person, situation, etc., but I feel those conditions only shade the base, or rotate it somewhat - some things can't be changed just by our personal perspective.
Finding the fundamentals in an artist's life can be confusing because issues oozing with passion, angst, creativity, etc. can get so tinted that to fmd the "true" shade of the matter is like deciding which one color to choose if one had to make a single colored rainbow. Thus spewn, here are a few "realisms" I have come to conclusions on lately.
No matter what anyone says, just because you make art does not automatically mean you should wear a beret. For one thing not everyone looks good in one. Head shape does not change upon entry into art school. For another, why the beret? Because it's French? The Dutch had good artists, why not wooden shoes? Some people look just peachy in a beret. I even saw a CPA in one the other day and she looked terrific, but of course someone had to ask her if she were an artist. I told her all CPA's should be required to wear calculator earrings - it would make classification easier. If I dressed like many people have described how a female artist should - beret; long flowing, patterned skirt; tunic top; long frizzy hair - because of my height, or lack there of, I would often be mistaken for an accent table. You know, one of those stools people buy, fling some material over and set a lamp on. I guess life's not fair. Some people get artistic ability, the right hair, long thin bodies and look great in French head ware. Guys are supposed to be able to look jaunty in the hat, look great in black and a beard, and have enough neck so their turtleneck doesn't bend. Once I went ahead and tried the "look" but reality said, "Only if you want a martini set on your head".
Art isn't a competitive sport. It's been confusing for me at times, because some of my peers act differently, but even though there are a few similarities between bookies and critics; gallery Walk and Monday Night Football; juried shows and the Olympic trials - my sense of reality negates these. First, there are no Art Olympics. Granted, every other country thinks American art stinks, but there is no coverage of the wirmers and losers in art, only the "chosen". There are no lasting endorsement deals based on how "cute" the artist is. In our country artists don't become heroes because they fall and hurt themselves in the pursuit of their goals.
Secondly, there's not much money in it. Sure, that in itself makes it competitive for many, but that's marketing we're talking about - not art. They who have the best marketing skills usually win in the art world; but not always, because somewhere, it's still not about cash. (I know, tell that to the landlord.)
Which brings me to three. There's always room for more creativity, more stories to be told, more beauty. Not to say that for the sports enthusiast there aren't records to break and titles to win. But our goals really aren't set in dollars and statistics. Our goal is constant growth, which shouldn't be competitive. Each new idea sparks another. In jazz the goal is to have a new and fresh combination of notes every time you perform, and a lot of that depends on what your fellow musicians send you. Yes, in every aspect of human accomplishment there will always be the someone called the "best", or the one that makes the most money; but in art, there are no set standards or bowl games to measure us by and confine our goals. Every time I feel I'm losing at something, I try to remember that art isn't a race, and if someone makes me feel like that, I remind myself that it takes at least two for a true competition.
Reality - all people who stay awake past 10 PM are not evil or insane - all who leap out of bed at dawn are not virtuous. We left the farm years ago, however, "night people" are still suspect. Who wants to catch a damn worm anyway? No one tells early risers to stay outside or not sing or laugh until 9 AM (probably because there's not much to laugh about that early). Biological clocks do exist and they vary for very important reasons. Someone has to get up and get rid of all that nasty dew, get the place warmed up and make coffee for all those who stayed up late doing wild reading.
Fact - not every one who does art wants me to hug them. Why then do I feel "hung up" or aloof when I don't grab every artist I meet? Do you see dentists hugging and massaging each other because they have teeth picking in common? What if you don't know or like a person? What is the reality check for this issue? In some cultures hugging and kissing everything that moves is the norm. That's great for them, but in other parts of the world they don't even shake hands - a tasteful bow says it all for awhile. But here in the land of art, if you aren't smashing your face into everyone's flannel shirt, some people look at you like, "Wow bet they dress in the closet". Hugging is important and probably lacking in our culture, but I have witnessed some of the most heartfelt good-byes at our functions with both hugs and handshakes. I won't stop grabbing some people; I just won't assume having me attached to one's breastplate is Nirvana for all.
Speaking of bodily contact, the type I don't understand among artists is self proclaimed "chiropractice". I know you all think Meredith's got a hang up. Well, possibly. It stems from having brittle bones. Being grabbed and my spine unexpectedly aligned by an amateur doesn't make my heart sing. I doubt if people with bad backs, fused vertebra, etc. get all tingly over this one either. Unsolicited bone popping is not a ritual of greeting or friendship in any country I know of.
I also have to remind myself that massages can send very different messages, depending on who's massaging who and where. My sense of reality tells me that one should ask first even a fellow artist - not just start churning that flesh leaving the churnee to take it or ask you to stop. Screaming "DON'T TOUCH ME"in the buffet line somehow never goes over too well. On the other hand, if someone asks you to rub their neck, and their-ring-around-the collar appears to be moving, you can also say no. Believe me, you can't beat a good grope, but only consensual groping.
Well, so much for this dip into reality as I see it, except for one last thing. I work with alabaster a lot. I think it's wonderful stone, but after all these years, I still wonder why it's considered a compliment to have alabaster skin.
