#plaster

Caroline Amalie, 1820-1821, and Caroline, 1819-1820, by Bertel Thorvaldsen (1770-1844)

Tile with Capricorn, Dura-Europos, Syria, ca. 245 AD

Clay with a layer of painted plaster, today at Yale University Art Gallery, 39.5 × 42 × 4.5 cm

Photo: Yale University Art Gallery / public domain

Thésée et le Minotaure / photograph of a vintage 1885 engraving by J.H.E. Whitney within Century Magazine - taken from a photograph  from the plaster cast of the work by Antoine Louis Barye (1796-1875) (1885 photograph originally taken with the permission of the Ferdinand Barbédienne Foundry in Paris - Barbédienne Purchased 125 casting models from the late Antoine Louis Barye’s sale in 1876.  He set about casting and selling editions of these sculptures which was very successful, devoting an entire catalogue to these works.)

Originally Posted: http://www.flickr.com/photos/mamluke/4520237099/

This has been a looong journey (a week, but it seemed like year)

This was a challenge to myself, I wasn’t sure I could make it but I did! Still a long way to go but it’s nice to see my skills slowly and constantly improving. 

Zeros - feat. Rem Koolhaas / Franz West (2006)

Italy, Travel Feature Story

Vincent Gernot, sans titre 1.0, 2018, plaster, dimensions variable

detail of new painting, 2015

Anna Mikhailovskaia

Larabanga Mosque, Ghana

THE CENTER HOLDS- cast & carved plaster, aluminum leaf, paint, gray faux suede, carved wood, glass - 8¼"x 11"x 2½"

This unique piece came about from the fact that I was not happy with the original design modeled in plasticene from which a mold was cast. There were two plaster positives cast from that original mold, each finished differently but using the textures and edges mimicking a patchwork quilt. I was so unhappy with the results that I re-worked the negative mold using a woodcarving gouge to carve a radial pattern moving outwards from the lips. I cut the mold down into a smaller rectangle; from which I cast three positives: one in plaster, another in red earthenware, and a third in black stoneware. The red earthenware version was mounted on dark stone. This version was leafed with aluminum and washed in a yellow ocher. The front surface of the frame was carved with a grinder to echo the radial pattern, sanded smooth, painted black and then leafed in aluminum, followed by a cream wash. Front surface of the frame was lightly rubbed to reveal black base coat.

Long Lips(W.I.P. title) being leafed, session #2

I’m trying! ;.; #legcast #plaster #slwc
https://www.instagram.com/p/CF9b87OJCmW/?igshid=fpbekpauhbmh

Gormley, Antony. A Case for an Angel III. 1990. Tate, London.
Lead, fiberglass, plaster, and steel

Divided Line(2012)
Diana Al-Hadid

The Outside, The Inside and the Praying Mantis(2005)
David Altmejd

Once the plaster had set within the shoe, I tried to retrive it, however in this case, the right court shoe actually snapped along with the plaster interior. At first I thought it was useless, however when I cleaned up the plaster, smoothing it, it reminded me of the resin blocks found in pointe ballet shoes. Also the exaggerated and broken arch of the foot connected perfectly to the ideas of foot binding.

Casting with shoes

Carrying on with the casting idea inspired from the foot binding and ballet research, I have started using recycled shoes and creating a mold of the negative cavity of the interior. Whilst still wet, ribbons have been embedded to link to the research and also to keep the shoes together as a pair. The shoe size does in fact matter at this point in development as I thought that the smaller the shoe, the more it related to the idea of foot binding - the young age at which the female feet are broken and bound.