Work in Progress: Harmonie Reflecting
In the latter part of 2001 I began the work on my first life-size abstract "Harmonie reflecting". From the very beginning one originally finished cast of this sculpture was committed to an interior designer representing an upscale midtown Atlanta apartment developer. This special cast is intended to be displayed in the leasing office. (For further information see www.summitbrookwood.com)
  
The design I developed embodies elegance and conveys a feeling of harmony. It represents the harmony and balance between the material and spiritual aspects of life.
  
Many details of the sculpture were inspired by the integration of science and art. For instance, the sine curve of her hair intersects her body like an energy wave and continues into a helical form approximating the golden proportion, prevalent in nature. This highly symmetrical work could only be achieved by special preparation and casting processes.

Each step of the work is equally important for the final creation and therefore my anticipation and excitement grows as the work progresses. In the following, I document the process, allowing you to follow the steps and share the excitement with me.
  
The design starts with a 2-dimensional layout or sketch, depicting the fundamental idea. "Harmonie reflecting" merges two almost identical parts into one whole.
This merger is a very beautiful but rather difficult feature, which requires the preparation of a small model. The model defines the three dimensional flow and all final preparation steps for the final-size original.

I prepared a clay model of one half of the sculpture, made a mold and cast two halves in plaster. The halves were then combined and balanced on a base.
  
The next step required the calculation of the symmetry plane and the translation of the model into final size sculpture.






Pictures 1 to 3:
conceptual sketch and 6 inch plaster model
 
The next step required the calculation of the symmetry plane and the translation of the model into final size sculpture.
This merger is a very beautiful but rather difficult feature, which requires the preparation of a small model. The model defines the three dimensional flow and all final preparation steps for the final-size original.
The work on the full-sized original started with the design of the armature, a very critical step. Picture 4 shows the symmetric plane, by which the two halves will be later combined. I chose a very sturdy socket and aluminum sculpture wire construction to support the final weight of approximately 100 lb clay and another 100 LB rubber mold material. The wire is wrapped by layers of paper followed by the final clay buildup. The creation of the clay model is the fun part, which took about three months.
  
For the final touches, I used a rubber cooking tool to achieve the very smooth and shiny surface required for this sculpture.
I chose a very sturdy socket and aluminum sculpture wire construction to support the final weight of approximately 100 lb clay and another 100 LB rubber mold material. The wire is wrapped by layers of paper followed by the final clay buildup. The creation of the clay model is the fun part, which took about three months.
I chose a very sturdy socket and aluminum sculpture wire construction to support the final weight of approximately 100 lb clay and another 100 LB rubber mold material. The wire is wrapped by layers of paper followed by the final clay buildup. The creation of the clay model is the fun part, which took about three months. I chose a very sturdy socket and aluminum sculpture wire construction to support the final weight of approximately 100 lb clay and another 100 LB rubber mold material. The wire is wrapped by layers of paper followed by the final clay buildup. The creation of the clay model is the fun part, which took about three months.
I chose a very sturdy socket and aluminum sculpture wire construction to support the final weight of approximately 100 lb clay and another 100 LB rubber mold material. The wire is wrapped by layers of paper followed by the final clay buildup. The creation of the clay model is the fun part, which took about three months.
I chose a very sturdy socket and aluminum sculpture wire construction to support the final weight of approximately 100 lb clay and another 100 LB rubber mold material. The wire is wrapped by layers of paper followed by the final clay buildup. The creation of the clay model is the fun part, which took about three months.
I chose a very sturdy socket and aluminum sculpture wire construction to support the final weight of approximately 100 lb clay and another 100 LB rubber mold material. The wire is wrapped by layers of paper followed by the final clay buildup. The creation of the clay model is the fun part, which took about three months.
Pictures 4 though 9:
armature and clay original
armature and clay original

All content © Angelika Domschke 2001 - 2003

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