Monday, May 21, 2007

POLISHING & MOLDING THE MASTERS...

The Open Studio Weekends were happily successful in terms of attendance, pace & sales. I used the castings to demonstrate the process verbally which I can now share from the photographs I've made as I have polished & molded them in the week since.



I spent a great deal of time & care in the finishing processes to develop the "complexion" of their surfaces without disturbing delicate details. Much attention was paid to the interiors, which will help the mold quality as well as sweeten the sound by fining the proportions in a way almost impossible to perceive in the wax.

I can actually hear the resonance now that they are translated into metal... but that is affected unduly by the fact the sprues add considerable weight which will ultimately be gone.

Polished interior surfaces will allow smoother release of the wax injection from the mold...

[Note: Click on the photographs to view at larger size...]



Notice the tidy new buttons replacing those crude ones used for the first casting... These will connect tightly to the nozzle of the injector shown at the bottom of this post, if your curiosity is impatient. They will build that capability into the molds which are next to be made in this series of rather technical processes bringing the designs into production.



I use a silicone rubber, which comes in strips protected by sandwiching layers of slick thick paper which curls as it is peeled off the soft unvulcanized sheet .25 inches thick... it resembles putty in texture. It cuts easily with scissors to fit inside the aluminum mold frames, stacking & mushing around the polished master suspended inside but still connected to the outside via the button & sprue.

Since one cannot write on the silicon rubber with any permanence, I embed a tag of brass or aluminum thin enough to emboss identification of the design, which becomes then part of the surface of the mold during the vulcanization process, which takes place under the heat & pressure between the plattens of this press.



At just above 300 degrees... & all the pressure I can build with the screw... the rubber solidifies into a tough flexible solid block surrounding the master inside.



Out of the mold frame the molds await my attentions with a scalpel to cut this block open in such a manner that it will release the metal master & then fit tightly back together again.



Beginning at the cavity left by the button I follow the sprue into the block with my knife... cutting the keys which will lock the two halves back together. I must "think inside out" as I prepare this solid rubber version of what is negative space in the normal world.

This becomes a birthing process of sort... leaving the space shaped by that master, ready & waiting to become filled, with melted wax this time... again & again... making production copies of this design in wax. A wax which makes the plaster waste mold, as described in the previous post. Remember that a wax is melted for each metal bell, hence: "lost wax casting".



I used toothpicks to keep the springy rubber half cut mold open enough to make the photograph.



The wax injector is simply a tank of molten wax with a tight lid & under pressure from an air compressor or even a bike pump... it only uses about 4 psi. By inserting the pressure sensitive nozzle into the button/receptacle of the mold which is held tightly together with both hands, one pushes to allow the wax to enter & fill the mold. After several minutes to cool & harden the mold is opened to release the wax, which must next be touched up to repair the parting lines left by the mold seams.



The bell mold has three pieces... one pulls out of the core of the bell first, while it is being hugged securely by the outside halves.



Here the molds lay open to expose the injections...



This is the resulting production wax, prematurely assembled for one more portrait of thois stage in the new life becoming the SEA HORSE Bell.

The molds are now at the foundry & I am anxiously waiting for the first prototypes in silver... savoring my anticipation to actually hear its voice at last. Because all these processes change the bell's size & proportion due to shrinkage, from hot to cold in both wax & metal, this then holds the final mystery!

Friday, May 11, 2007

CASTING THE MASTERS...

The new designs, of which I've shown the waxes in recent posts, have been cast in sterling silver to become the masters from which I will make the vulcanized rubber production molds. It is always such a relief to see that translation securely made... many disasters can befall this process.



Ordinarily the foundry would saw off the conical buttons from the sprue, that connecting rod, which was the channel that allowed the molten metal to flow into the "waste-mold", made by pouring plaster around the wax inside a cylindrical stainless steel flask. That flask is put into a kiln to melt out the wax, thus effectively destroying my carving! The work, however, is temporarily retained as a negative cavity inside the plaster. There is only one opportunity to replace it with metal... hence the term 'lost wax casting"...

When the process fails I am required to start all over again on a new wax!



The buttons in this position demonstrate how their weight helps push metal into all the details & furnish a reservoir while the metal shrinks during cooling. Being the last to solidify, that mass takes the stress & distortion inherent in the changing states from liquid to solid. They will be replaced later with smooth buttons for the molding process...




As we look into the interiors of the bells, anticipating the sounds they might make when relieved of all the extra weight in the buttons & sprues, we can enjoy the show of fiery visuals involved in the moments of the actual casting process. These photos show James, proprietor of OutCast & Company, during a pour for a vacuum cast. [We also use a centrifuge for some castings.]

After bringing the metal to melting temperature inside the blast furnace, one sees him taking the flask out of the oven with tongs & placing it on the vacuum table . The crucible is then lifted out to pour fiery metal into the cavity of the plaster mold flask while the vacuum draws the air out ahead of its passage to prevent loss of detail & encouraging a dense casting.





THE MOMENT OF TRUTH!


All looks good, but one never knows until the flask is broken open to reveal the result. A period of glowing meditation &/or nervous anticipation is required while the last of the flame keeps the button molten until the interior metal has safely solidified...



I leave you with the knowlege that the process was successful since you saw the masters at the top of this post. Next I will polish the masters & make the molds, hopefully taking time to make photographs to continue sharing these technical aspects of my work.

Being a Double Leo explains my joy in such fire!

Thursday, April 19, 2007

DESIGNING REPORT...



Like this explosion of grass in the garden I celebrate finishing what must sufice for the season's new design train.

THREE NEW BELL DESIGNS: SEA HORSE; SUFI-SURF; CLOUD PALACE

Making hundreds of photographs, I continue to learn how the camera communicates with the computer images I hope show how I see these waxes which might or might not survive the next trial by foundry fire... there is always that chance. My memory launches into the archiave of stories which one day will prove my age in some version of Hephaestian myth, but I do understand & appreciate that all my work thus far rests its reliable birth from this gestation into mastery toward gently evolved production.

Many elusive stages toward reality... flipping from postitive to negative as plaster molds accrue around my waxes to resist the melting of all my work, holding in shadow form the nuance to be translate the heft of liquid silver gelling quick to crystaline metal hard what the wax had been.

Still, I invite you to look again into the small surficial depths of this ephemeral state where I play to work...

The SEA HORSE Bell design has been shown in several previous states in recent postings. Here then are that wax's formal portraits.



This shot shows a clearer viewpoint under harder light...



Today I reluctantly dissasembled these bells for the last time to attach the sprues which are necessary for casting. Sprues are the wax wires which will provide channels for the molton metal. The SEA HORSE Bell's very flexible clapper is a complexity of three jointed parts, which are sprued together in a trident for effeciency. This will be an expensive bell for such nicities.

I look forward to seeing this bell in production... organic surfaces like this can be problematic in finishing--easily losing subtle detail & becoming "mushy". Still... I know an original problem with this idea was the critter's inherant rigidity. This becomes a consumate dance...



Now they are packed in foam inside a metal tin, ready for the trip to the foundry tomorrow.



I begin to experience some sort of "post partum" blues, as I watch myself pushing them away into our next stages. "My children" will be back with more need of attentions as I polish them out to be ready for the molding process... after casting...

Casting, very like chickens, is not something one can count on before...

What the language of lost wax casting describes is that the wax model, encased in a plaster mold is melted out... lost... in order to provide space for one moment of truth at precise temperatures, designed with gently efficient flow to accommodate such a thrust of molten metal to replace it, cooling to translate my wax form into security.

Certainly a birth of sorts.

I will be on edge until I see that transformation. There are many stories about the vicissitudes of casting in my history. There is little play in this field without coming to some acceptance toward something zen. I have experienced many personal failures in this process during the years I was doing my own casting. In a process so complex as this one can ultimately only accept whatever the outcome.

One dances prayers for grace.

Stephen will play courier for these & will pick up an order of finished bronze bells, completing my stock for the upcoming Open Studio weekends May 5, 6, 12, 13.

Grazie Mon Chere...

Thursday, April 12, 2007

MOODS INTO LIQUID CONCRETION...

From inside almost two weeks' deep solitude I bring forward these waxes gestating both longingly & more hurried...



While taking a walk down the road elegantly sexy eqisedum seduce my camera's eye ...



This is one result of the fire of the beach house in the neighborhood last summer... It is a "scorch-print" made through the vines on the siding of the out-house nearby.



I introduce my great nephew Dylan...
Look into his soul, please.

Sunday, March 25, 2007

Sodden Equinox...



While the blossoms tell the season, our skies have continued full of more rain than is good for our geography. We take what bright we can find in the few sun breaks we are blessed. I realize I have posted shots of our blooming views at this season last year. I won't repeat...

I am at last finding some productive time at the wax desk. A new design is the blossoming I will feature in this here & now. It explores an idea first explored as the ninth limited edition named the DERVISH bell which has returned with more essense in experience since Stephen returned from traveling in Turkey last fall & my having met Sufi dancing with our friend Jamshed at Breitenbush. Another friend has also begun massaging the idea by sharing a white porcelain figurine of the gracefully swirling skirt of a classical dancer. It has seduced me even as I have explored a less pure form of the notion, opening it & allowing it to splash a bit... hence the working title of SUFI-SURF.

This project has had that satisfying "snap" I love... the feeling something in the idea has a life & vitality all its own. I love to ride such impulsive inspirations!

Wednesday, February 21, 2007

CIRCLING WITH FAERIES...


Back this morning in the nest of our home I am basking in rare sunshine & the memories of what must be something like my 20th time circling with the Northwest Radical Faeries at Breitenbush Hot Springs, deep in the woods of central Oregon's mountains, where we have gathered for the last 25 years.

This is a spiritual gathering of mostly gay men who feel called & re-called to the mission of creating & re-creating magical space for healing themselves & the planet... a far flung ambition, no doubt about it!

Harry Hay holds a position of honor as one of those who made the call for the First Spiritual Gathering of Radical Faeries in 1979 which now has become an international collective of rather anarchical groups who continually reinvent ourselves. We are a rare example of what is actually the very [pre]historic process of coalescing humans to consciousness around deep seated need to advance what it means to be human.

Too much groundwork would be necessary to bring you fully into appreciation & understanding... even we do not know quite who we are most of the time! But I want to attempt that impossibility by narrowing my focus to what might be considered our basic sacrament, which we call Heart Circle.

I illustrate sharing photos of an experiment I began several years ago, which now suggests itself as an ongoing personal practice: a book, which I first saw some four years ago in a Florentine paper shop, but passed it by as impractical for my journaling. Stephen presented it to me nonetheless some days later, in Rome, on my birthday. It is gorgeously handmade, rich paper bound with a leather spine & marbled paper covered boards.

Half moon shaped, it is a crescent which becomes fully round when opened... which shape is why I was first both attracted to it but then observed it being impractical for my squarish calligraphics. Still, he knows well how to feed my heart...

Heart's song happily often creates askance while dancing antithetical to practicality. I do love the book so I've dedicated it to drawing rather than writing, however rare it is I have time in quality to sit with such importantly playful work. Much needed education has come through while I approached this project of drawing a skin of graphite over/onto the soft ribs of such heavily laid cold pressed rag paper. Much pencil pressure will easily cause the surface to crush, introducing even stronger texture... to this I must be student.

The laying onto tone over careful tone, more shading than crosshatching... chiaroscuro become meditation.

Such drawings become lengthy studies... significant investments of time... I've managed to fill only 8 or 9 pages so far, or paired pages, since I am making these drawings to fill that full circularity. Still, it has sat most of a year between some efforts.

While I'd brought it to Heart Circle before, at this gathering it began to find new strength in meaning to me. I stopped being concerned it might be disrespectful in the larger context as I considered that it is not unusual to see faes knitting or doing hand sewing. I come to see circles within circles as I continue my exploration with this format. The aspect of mandala... which Sanskrit makes disc obvious.

Circling is primordial human activity... "Wherever two or more of you are gathered..." reclaims a sacrament far older than that quotational fragment. Ancient peoples formed eons of family & tribe on this model. Holding circle creates & describes community at it's most basic level. Curiously, we have mostly lost the form because more hierarchical natures have long prevailed to construct our ignorance for their power.

There is nothing of top down in a circle. There is only a totality wrapped in endless continuum. There is center... that which holds. There is oneself... there is then all one's others held in requisite communion... & love.

Faeries find organization in that consensual choice. We are not democratic. The larger portion cannot rule simply by size. All must be worked with so that the whole is healthy as possible. This can be immense struggle & very subtle work... within each self communing with all others. If those who say such wishes truly want to "save the family", I suspect something like this will be seen as one actually functional as well as logical way... which the father model seemingly cannot accomplish.

Faeries might take anything "organizational" with that sense of constructive skepticism, of askance, at whim. Any rule invites being met with creative breaking, just to prove the larger rule of historically evolutionary anarchy. ALL will ALWAYS break down, change... evolve... by atrophy, or recreation.

So one of the most important parts of every Faerie Gathering... or "Faeries' Gathering" as one friend, with more particularity to this point, calls them... is the Heart Circle, traditionally held in the morning at our Breitenbush gatherings. We sit together in the North Wing, the largest meeting space in the old traditionally timbered lodge, making ourselves comfortable & cozy on cushions with back-jacks to lean on. The circle breathes to expand & accommodate as more arrive... others leave at whim. This is no obligation. Some never attend, some of us are habitues, appreciating the energetics in this pulse.

At Breitenbush we might average some 30+ in number, gathering close enough to touch, perhaps holding hands in more, often snuggling or inviting newcomers to nestle into laps rather than to disturb the present & palpable connection... we try not to disturb attention while someone is speaking.

There are numerous variations on procedure. Some traditions pass a talisman, perhaps a "talking stick" to define the concentration toward the sharing, going around the circle to include everyone. In our gatherings, we allow those wishing to speak to take the center, putting no onus on those who might choose to remain quiet until such moment as they are ready.

We have long used a shawl as our usual talisman. Such a bit of "drag" seems to suit our sense of style. The one most currently used was made by a fae who created a richly patterned & subtly spangled triangle which is sturdy enough to stand up to being draped & dragged, played with in nervousness, tugged on & tossed while faeries speak with all the potential emotions, as well as to support a burgeoning collection of additional adornments accumulating to represent all the various gatherings at which it has been used. This shawl has traveled around the country & several times to Europe since its appearance five or six years ago. The Faeries meet regularly in half a dozen sanctuaries around the country. There are Eurofaeries & a new gathering developing in SE Asia as well.

There is also an "ancient" crocheted shawl which is now so weighted by years of feathers, bits of jewelry & patches & has become so frail, in spite of numerous repairs, that we do not actively use it. It has become curiously "hallowed" by so much energy... it has seen so many years of tears in joy or pain, so much stress of emotive anger & love, of holding the weight of processing such myriad matters of collective heart.

We gay, queer, two-spirited, bi & trans-gendering people have long been outcast, especially in patriarchal societies. We hold a powerful collective pain... we hold an equally powerful, but necessarily more subtle strength to survive. Prejudice again & again proves its ultimate weakness & insecurity although never without a struggle from those challenged. Much of the work done in Heart Circle has to do with healing the resultant wounds.

We are invited to speak from our heart & to bring such deeper energies to play by avoiding the foibles & the games of the mind. Courts & Senates abound... "logic" is how we've come to many of the difficulties in this world which we would now attempt to dissolve with the subtleties of love.

We tell our stories inside these circles. We witness our sister-brothers in the joys & travails of their lives. We choose names for the beings we more truly are... or wish to become. We rant. We grieve our losses in the deaths & other passages of family & friends. We ask for support. We bare our souls.

One tradition, although this, as everything else in our unstructured way, is only one option, is to bare our bodies as we speak, bringing our nakedness to be seen in that symbolic honesty, because our culture has made such a poor bargain with true beauty & with sex. This must be considered when the media show only certain, very limiting, body types as acceptable. Before you recoil at this notion you must be honest with yourself about the images with which you are constantly bombarded inside your television or magazines. Does your body meet those "standards"? Is it possible you might prefer to be able to stand bare, finding approval from your peers?... How might it feel actually receiving open appreciation for your size, color, shape & weight? Do your clothes & cosmetics in truth help you compensate for the supposed deficiencies our commercial culture constructs to put us all mostly down? Could we all reach through the sales gimmicks & find some actual confidence in our truth instead?

Faeries feel that pain with all who are marginalized. Further, as gay men we easily contain our own version of that culture which puts so many of us down by impossible standards of gym bunny beauty, which is a curious form of white male privilege known as internalized homophobia. Being overachievers to begin with, simply to survive, in our frustration we take the societal norms to new heights & are often cruel to each other in order to find something feeling temporarily like a step up.

Faeries work to change this cycle... & it is complicated work indeed! It takes this strong structure of the circle... this geometry without corners where which one might stuff one's shit or try hiding with pain. As we face ourselves & look into the mirror of other eyes, we likely first see our own fear. As we share that fear openly we more easily resolve into softening acceptance & appreciation. Without so much need to react by threatening back... we may rather begin finding strength to love more, if not all possible selves. Coming into that welcoming love we may begin more easily to see beauty in all its forms.

Nakedness is belittled by accusations of sexual "impropriety" when it really is more truthful than to accept such from some god of easily manipulated words selling a slavish lack of true logic... if any god created the infinite universe, why would he put only a few narrow-thinking white men in charge? That concept genuinely seems a comic sort of "logic"!

Circles were useful process long before churches. We continue to prove for ourselves in these circles the truth of that. This would seem more genuinely to be "that old time religion". Still, faeries would not wish to be limited as a religion... we are more about spirit than can fit inside such limited definition.

So I brought my round book to the faerie heart circles of this gathering & attempted to honor that spirit in my particular way. In the third day's circle I sat with a new blank set of pages, an open invitation for the mandalic process. The point of my mechanical pencil naturally arrived first at the center. While I rarely speak in circle I can speak here in my own manner. The hearts coming bodily to the center that morning were often telling of feeling off kilter or of searching to find direction & focus. That resonated with the laid lines of these particular pieces of paper, which were going at slightly "clashing" angles.

My book's round pages are cut on many angles & mostly are folded into the folios differently one half page to the other. This requires me to consider how these subtle furrows will ultimately affect my drawing, which will only bring them more & more strongly into visual play under the darker tonalities. I began to draw that skew as honoring something indeterminate... describing a hand for a clock out of time, perhaps... or the pointer of a compass searching between polarities. I felt more the book's calling... Its quiet turning as I crosshatched in innumerable angles allows, requires, mirrors & celebrates the circles within, the circles beyond. Wheels within discs within processes of quiet noise & meditation.

I've 90 or so more pages... seeming a life's work... which gratefully feels less daunting than before. I now rather look forward to the promising permutations possible in such a concentrated evolution. I am invited to find new circles in working play!

Monday, February 05, 2007

WINTER WAXING...

Finally! I am celebrating the creative depths which this season traditionally holds for me.

Even as I can predict a bit of reticence, & often irregular rhythms, I always worry... until I find myself in that gripping drive which plays-out in late nights of wax carving & concentrated research as I come to grips with ideas wrestling back... fantasy in dialogue with reality, something rather Montessori, if you will.

First, perhaps, some repetition of impulses toward a notion for a bell begins to tickle, whether during the highs of the holiday sales season, or waiting for that sag time after New Years.

I do have a full backlog of such notions both from others' suggestions, & from my own notions. Some have become perennial problems, like that of a HUMMINGBIRD Bell, which ephemeral action eludes my imagination to capture its hyper-movement in static wax & metal.

Yet the idea of a SEAHORSE Bell has caught my interest recently, between the aquariums in Florida last winter & in Mystic, CN last month, with a similar problematic pique to my imagination... I suspect this rather stiff, narrow form might easily result in pinched resonance. The larger wax is a first study in which I confronted sseveral such problems & I have now designed a 3 piece flexible clapper... making a "flick" of action to improve the strike.






I believe the bell will ultimately project a good voice, but one never knows for certain until the non-resonant wax is cast & assembled in metal...