ROCK TALK
MONTOYA SCULPTURE & SUPPLY since 1973

Interesting sculpture related news, technical tips, special offers and other important information
By Jeff Halverson
Sculptor and Owner of Montoya Sculpture & Supply
www.MontoyaSculpture.com

January 22, 2004
Issue 7
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IN THIS ISSUE:
1. Editor's Note
2. Malvina Hoffman – Part 2 by Vince Ricci
3. Sculpture Mounting and Display Advice - Part 3
4. Current Sale
5. Upcoming Events
6. Please send sculpture quotes (maybe win $25 gift certificate)

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SCULPTURE QUOTE

I would prefer to be a starving artist than, artistically starved.
John Jay 2003

Submitted by
John Jay
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1. EDITOR'S NOTE

I hope you are all off to a great new year. There are certainly a lot of things going on in the world and it makes it hard to concentrate on artistic events and creativity. I hope Vince's' Part 2 of Malvina Hoffman helps to distract you from world events for a short time.

Hope you like the quote submitted by John Jay. Thanks John for submitting it. We are sending you the $25 Gift Certificate in appreciation.

I need more sculpture related quotes. Please send them to me.

Through January all orders will include a $15 discount coupon good on your next stone order of at least $100 (or $30 off of a $200 order of stone).

If you have not gone to the website to see the pictures of the Milani rifflers being made near Pietrasanta Italy, please check it out. They are on the lower right side of the home page at (www.MontoyaSculpture.com)

If you are in the South Florida area you might want to come to ArtiGras in Abacoa near Jupiter. We will have a few booths set up doing demonstrations. Kennedy Musekiwa from Zimbabwe is planning on being there and Vince Ricci may also be in another booth. The event draws 250,000 people and will be held on Feb 14, 15, & 16, 2004.

Because you have given us your email you are included in our free drawing for one of our 18th Season Sculpture Workshops. The value of the workshop is usually a $395 value. But I also include stone, and free equipment rental so the value climbs up to about $700. You just have to travel here. These are unique, educational, and interesting events. The offer is non-transferable and cannot be redeemed for cash or material. The drawing will be held on Tuesday January 27, and notice of award will be emailed or called if possible.
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2. Malvina Hoffman - Part 2 by Vince Ricci

Working with Malvina

It is hard for me to describe how wonderful I felt after leaving Malvina's studios that first day. I was a very young man, an art student, and full of the kind of spirit and bravado that all young artists seem to have in abundance. The next day, however, and for many weeks and months to follow, I learned to understand the benefits of modesty and humility. Malvina spent most of the first few days of our new relationship asking me questions about my interest and knowledge of sculpture. I wanted to impress her so I responded to her inquiries with my usual lack of modesty, not knowing I was about to learn some very important lessons that were not just about sculpture making.

My first lesson was about to be learned when after just a week, Malvina asked me to demonstrate my skills with mold making; she had asked me early if I know how to make molds and cast small figures. I had told her that I had excellent skills and felt very confident about mold making.

This day I was about to learn just how much I had to learn about making molds. When we had finished our morning tea and talk, she surprised me by asking me to demonstrate my mold making skills. After a few moments of silence she asked me to go over to a shelf and bring back a small cloth wrapped clay figure, about 10 inches high, which she had shown me earlier. I placed it on a sculpture stand that she had placed in the center of the studio. She then directed me to a table with a few tools, a soft rubber dish about 4 or 5 inches across and 2 inches deep, a small bag of plaster of Paris, and some thin, stiff paperboard. “I would like you to make a mold and cast this figure for me'. My first thought was that I was going to be sick. I was terrified, not only was this figure sitting in front of me a work of art by a great master, but here I was standing in Malvina's reception studio with wonderfully finished hard wood floors, with not a speck of dust, and the sculpture stand that the figure was sitting on was equally fine and clean. Before I could make a protest, Malvina said, “You know neatness counts, being able to cast without making a mess usually means the mold will come out well”. Modesty and humility all of a sudden seemed very appealing. At that moment I took my first step in beginning a wonderful relationship with Malvina. I said “ I don't think I am that good, when I cast it is usually messy, can we move this to the work studio?” She took a risk as I had and we moved into the big working studio, were I stayed and worked for her for the next 2 ½ years. Along the way we would repeat that lesson a few more times, always with the same openness and honesty I learned that first week.

Malvina was a wonderful stone carver and I wanted to learn all she could offer me on that subject. One day after we had lunch, we always had our sandwiches, tea and talks up on the top floor of her home which she called the “Eagles Nest” she said,” do you know how to carve stone?” She was sitting with her legs stretched out on her grand chaise lounge, a light blanket covering her legs, and the lounge itself covered with animal skins left over from her travels around the world. In her right hand a cigarette holder, with smoke rolling off the unfiltered Camel cigarette at its end. I said “no, but I would like to learn”. We were soon down in the working studio and standing over two stones, one was a finished head and the other had been partially roughed out with comparable outlines. Malvina had a habit of studying my reaction to the challenges she presented to me. I could see her out of the corner of my eye as a small smile crossed her face.” She said, “ Tell me what you see?” I explained that I could see that both heads were meant to be identical but one was unfinished and just a roughed out version of the finished piece. She asked me to look even closer and to give my impressions of the work and how the work was being done. As I looked closer and more at the method by which the stone was being removed I noticed the there seemed to be very many defined linear drawing marks that had been made by the tools. I told her what I was seeing and how the way it was being carved helped me to see the surface more clearly. She started to talk about Rodin and how he had learned this method and had shown her how to use this technique. What I was seeing was what Michelangelo and all the great stone carvers had known, how to carve accurately into stone and using a method of drawing with the carving tools that brings forth the patterns, and surface movement that join together to produce details and likeness. Malvina asked if I thought I could finish the work on the roughed out head, I agreed, if she were to guide me that I thought I could. She placed in my hands a set of stone carving tools, warned me not to think too quickly about the surface modeling, and to do all my work with an eye on working out all of the understructures first. Projections became supreme; knowing what needed to be kept in place, and what could be removed, anticipating what would happen when a cut was made, drawing on the stone, and how the tools could be used most effectively. This was all under the watchful eyes of a great master, and was enough to make anyone nervous. I was nervous and, because I was, I picked at the stone. Malvina didn't waste any time in saying, “With authority strike the stone, with authority. You can't be timid with stone”. Several days later I was striking the stone with authority.

What I learned that day, and the many days it took to complete the carving, was and still is one of the great lessons of my life. Stone is not hard, it in fact is soft and pliable, and time reduces everything. Cutting stone by means of a more deliberate drawing and tooling approach is most helpful for figurative works and free form works that have organic quality. Drawing in stone is a product of the use of tools, and cutting into the stone while using planes to move across the surface to a point where it bends and moves into another shape or contour. The drawing is dependent upon already established under structure either physically established or anticipated to be present by the artist. The use of drawing has the added advantages of moving form around corners, pulling structures together, and contributing to a more complete perception of the development of the total work. When used successfully it appears as if the sculptor is peeling stone and exposing the underlying forms. The drawing with tools grows successively finer until the work is completed and is either polished or left with the drawing marks as the finish. Last but not least, cutting stone by means of a more deliberate drawing and tooling approach allows the artist to work with a greater sense of authority when striking the stone in his or her search for the elusive boundaries of the sought after final imagery.

Coming next in my series: Working with Malvina Part 3

About the writer Vincent M. Ricci:
Vincent was born in New Haven, CT. His parents were both Italian. He studied first as a painter and then moved to New York City, were he started working and studying sculpture. He attended The Art Students League, and The National Academy of Design, where he was awarded scholarships. After working with several outstanding sculptors, Vincent opened a studio in Greenwich Village. After a few years and exhibits, he applied to the Ecole de Beaux Arts in Paris and was conditionally accepted. Vincent was a constant visitor to the Rodin museum and spent many hours in the many great museums of Paris. He completed his exams at the Beaux Arts and remained there for a year. Whereupon he moved to Italy and entered The Academia di Belli Arti where he completed a four-year degree program. At the Accadamia he met and later studied with Emilio Greco, Giacomo Manzu and many others who he kept company with and with whom he exchanged his views. Upon completion of the Accadamia he lived and worked in Italy for and additional year with success. He returned to NY and then on to Boston where he taught at New England School Of Art, as the Dean of Students, Boston University, where he helped write the foundations study program, and at The School Of The Museum Of Fine Arts, as a permanent member of the teaching staff for 20 Years. Vincent is the founder of The Center For The Arts at Villa Maria, one of the longest surviving sculpture and fine arts studies abroad programs, which was established in 1984. Currently, he conducts workshops in Italy, in Palm Beach, Florida at Montoya Sculpture & Supplies and in St. Petersburg, FL at his studio.

Vince will be at Montoya to conduct his next 4 day workshop on March 31-April 3

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3. SCULPTURE MOUNTING AND DISPLAY ADVICE – Part 3

In Part 2, I discussed the use of the Turning Pin for sculpture mountings. Now I'd like to discuss fixed mountings.

Fixed mountings, for the purpose of this article means that the sculpture is permanently or semi-permanently attached to the base. By semi-permanently I mean that the sculpture can be unbolted from the base. This is a great method if the sculpture and base combined will not weigh over 100 lb (or whatever you are comfortable moving around).

One of the easiest mountings to do is the type where the rod will be epoxied into the sculpture and the sculpture will rest on the base. In this type of direct mounting there is no worry about the rod being seen, and the bottom of the sculpture is flat. What, a flat bottom on the sculpture? Now isn't that nice, because it rarely happens, and when it does there is a good chance that the sculptor will either simply rest the sculpture on the base without mounting, or they will simply put some felt on the bottom of the sculpture and not worry about the base. But this IS an ideal situation.

T start I cut out a paper template the same size as the base and tape it to the top of the base.

I place the sculpture on the base and situate it first so that it is centered mathematically on the base, equal distance all around. Then I stand back (remember it is flat on the base so its not going to fall over) and make adjustments based on the clients' directions or based on the aesthetics of the sculpture. The base of the sculpture may be neatly shaped for the base but as it rises from the base it may contour to a side, and not actually be centered on the base of the sculpture. I adjust to create balance between the base and the sculpture. With a grease pencil or china marker I mark the front of the paper template, the front side of the stone base and the front of the sculpture. I also create other markings to show its placement on the paper template. With a pencil I trace the outline of the sculptures base onto the paper template. I remove the sculpture, then the paper template from the base. I cut out the outline of the sculpture base that I drew onto the paper template. I keep both of the papers that make up the paper template and I put them back together on the stone base. Then I remove the outer part of the paper template, leaving the part of the template that was under the base of the sculpture. Being careful not to move the remaining paper template that was under the base of the sculpture I place some marks on the stone base and paper so they can be aligned again later. Tape the edges down with small bits of tape. I take a punch (or nail) and align it to where I want the hole to go into the base. I tap it with a hammer so a hole is made in the paper template and a mark is left on the stone base. I put the sculpture back onto the base that still has the paper template taped to it. I take off the small bits of tape that hold the paper template to the base and then I slip small bits of take (perhaps a little larger, under the paper template and wrap them up onto the sculpture. I want the template to be taped to the bottom of the sculpture now. When the paper template is secured to the bottom of the sculpture I can remove the sculpture and see where the hole will need to be placed on the bottom of the sculpture. I make a mark through the paper onto the sculpture base. Now I have marks that line up the bottom of the sculpture with the top of the stone base. Remove the template taped to the bottom of the sculpture.

Depending on the type of stone used for the sculpture and its width at its base, I drill a hole into the bottom of the sculpture. I drill to the desired depth depending on the strength and size of the stone. As you might imagine soft soapstone that narrows at the base cannot be expected to carry much load, so in a case like this I would drill deep into the stone. When I drill soapstone I do not drill much at a time as the stone dust builds up and compresses and could break the stone. I clean out the dust often. Some stones require water when drilling. I generally use masonry drill bits slightly larger than the rod. Since the rod will not show I use a threaded rod, which you can get a Lowe's or Home Depot. The threaded rod helps develop high “pull-out strength” so as to maintain contact between the stone and the rod. Once I am at the right depth I blow out the hole with either my compressed air system or one of those little compressed air keyboard dusters you find at computer stores or office supply stores. Using acetone and a cotton swab I clean out the hole so no dust remains. I use acetone because it dries fast but you could use water.

SIDEBAR- how do I get the drill to go in straight? This depends on the size of the sculpture and type of stone. A cube is very easy to drill on a drill press because you just turn the cube on its top and drill into the bottom. Of coarse this rarely happens since the cube, frankly, does not have much interest to most sculptors. If the area of the base is large enough (say 4'x4” min) you can use a drill guide (Sears is the only place I know that still carries this tool for about $25), that works well at getting a hole perpendicular to the plane of the base. Well that's about it for the ideal situations. So when neither of these exists I place the sculpture on something like a dartboard, which has lines radiating from the center. I center it so the place I want the hole drilled ends up at the place where the lined radiate from on the “dart board”. I project these lines onto the base at the 0, 90, 180, and 270 degrees mark. I mark them with a grease pencil on only as much as I need as a visual aide. These lines help me to align the drill and bit as I drill. If the size warrants I have a helper hold the stone in a cushioned cradle. I place padding to try to keep the sculpture in place and as close to horizontal as possible. I drill slowly, being mindful not to let the weight of the drill rest on the hole and drive the hole down or wider than needed. If needed water is added as needed to keep the stone cool. I place a piece of masking tape on the drill bit to mark the proper depth I wish to go to. I keep an eye on the alignment of the drill with the alignment lines I made onto the sculpture.

Back to the subject. Its OK if the hole is a larger than the rod because you need room for epoxy. If the rod fits perfectly in the hole there will be no room for epoxy and as you try to push the rod in the epoxy will try to escape. If it cannot escape it will not allow the rod in and you will end up with a mess because the rod will not seat and the epoxy will dry. Insert the rod into the hole carefully. You do not want to rough up and make dust into the newly cleaned hole as you are checking the hole and preparing for the final steps.

Now you want to mark off on the rod the additional length needed to embed into the stone base. This additional length will depend on if you are going to epoxy the sculpture/rod/base together or if you want to be able to unbolt the base from the sculpture (for shipping, etc). Once you have the proper additional length marked off on the rod cut the remainder off, and file the ends to remove sharp edges. A good idea is to have the bolt threaded onto the rod prior to cutting that way after you cut the rod you can clean and realign the threads when you remove the bolt from the newly cut rod end.

Now you need to drill the hole in the base. A clean hole on the base is simple if you have a drill press or the drill guide I mentioned. The base may be marble. Some marbles are drilled easily but others are not. I make the punch mark that I made on the top of the base earlier a little bigger to help me keep the drill bit in place. Often I build a small clay dam to contain water in a pool around the area to be drilled. This keeps the drill bit and marble cool. You usually just can't drill all the way through the marble in one try. It takes many repetitions, drilling the bit deeper and deeper. If the area where you are drilling heats up too much it expands and can split the entire base with a thin hairline crack. I know, I have done it, and sometimes you can hardly tell, but you generally hear or see something happen. So you take your time doing ¼' maybe 3/8” at a time depending on the hardness of the stone. Since the little water pool (maybe ¼” deep by 3” round) will be getting dirty with drilling I stop the drill press before backing out of the hole, this way I minimize chipping the sides of the hole. I also can soak up the water, which will be getting warmer, and add cool water. I wait a few minutes for the hole to cool down. I seat the bit back into the hole slowly before turning it back on. I continue in this way until I get to the required depth.

If you are going to go all the way through the stone you have to slow down in speed and pressure as you get about ¼” from the bottom of the base. If you do not it will blow out the bottom and leave a ragged hole (which you can hide with felt if desired). Once you penetrate the bottom side of the base the water will probably bleed through thereby telling you that you are through. I keep a towel under the base to absorb the water.

If you are not planning to go all the way through the base then stop at the desired depth. Clean out the hole and let it dry.

Now if you are planning to bolt the piece you will need a recessed area for the bolt to fit under the base. This is a bit harder step than the first because you have to use a much larger bit, fortunately you do not have to go as deep. So working from the other side (the bottom of the base) you drill with the larger bit. It's a good idea to cushion the base because any vibration from drilling will shake the base against the other surfaces and could scratch the finish side that you want to show.

Alternate method- You can start the drilling of the base from the bottom side of the base with the larger bit (you have to use your template in reverse to find the right place for the hole to start). Once you are down enough to recess the bolt you plan to use you pull out and use a very small bit to continue the hole. You have to remember to keep these bits cool with water. Once the small bit gets through to the other side (the nice finish side you plan to show) you stop and turn the base right side up. Remember, as your bit gets close to breaking through you have to slow down. Now you have a pilot hole to use the bit sized for the rod you plan to use. Now use some clay to plug up the bottom so the water will not flow out of you clay dam and begin the final drilling.

Once the drilled holes are cleaned and dry assemble the sculpture/rod/base combination to insure the rod is of the proper length. Adjust as needed. Prepare your epoxy and affix the rod into the sculpture. If the rod is to be affixed to the base (because you did not drill all the way through the base for a bolting configuration) then mix up some more epoxy to affix the rod to the base. Once dry add some felt pads for a nice touch and maybe write you name and date with a diamond engraver on the bottom of the base, for posterity. Play a little with mixing ratios and set times if you have not used epoxy before. For those interested in this process I have extended last months' sale on epoxy (see the next
Section 4 CURRENT SALE). Epoxy methods in the next issue.
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4. CURRENT SALE

I have 8 Milan riffler rasps I would like to move. While we carry the largest selection of Milani rifflers in North America, these ones I want to move are not shown in the catalog or on the website (so they don't get ordered and are just sitting around). They are 10 inches long. Both ends are pointed but one end has a narrow flat end about ¼” wide and about 2.5 inches long (teeth on both sides). The other end has a flat area after the point which is about ½” wide and about 2.5 inches long (teeth on both sides). Same great quality and performance. Great for rasping in narrow places. This size usually sells for $29.95 I am selling these while they last for $14.98 (That's 50% off). Ask for SKU #1010 Milani. No rainchecks.

The sale of the following item is extended but only for those of you getting the eNewsletter (that way I don't have to print a postcard and pay postage).

POLYESTER ADHESIVES (epoxy) –Save 25% , Easy to use for joining and mounting. Sold with hardener.
63001-Pint Transparent flowing now $13.47
63005-Pint Transparent Knife Grade (soft butter consistency) 17.95 now $13.47
63007-Pint White Knife Grade (soft butter consistency) 17.95 now $13.47
We carry all the tints needed to color these Adhesives to the color you need.

The rasp below is a very good all purpose rasps for soapstone, and alabaster
(we have carbides of marble, see our catalog or website,
or call us toll free at 1-800-682-8665)
15019 Vixen half round 12” 20.95 now $ 16.77 My very favorite, aggressive but leaves a smooth surface. I highly recommend this tool.

GIFT CERTIFICATES – We have gift certificates available in $25 increments. Tell your family and friends that's what you really want, so you can pick what you want. Easy to buy, mail, and use.
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5. UPCOMING EVENTS

See us in two location doing demonstrations at ArtiGras in Abacoa just south of Jupiter on Feb 15, 16, and 17. It's a big event attended by over 250,000 people. Stop by and see us.

Our Next Stone Carving Workshop
STONE CARVING, FINISHING, JOINING AND LAMINATING
February 26-29, Hands-on Carving Workshop, 4- day
ENZO TORCOLETTI returns for his 11th season. A full time Flagler College sculpture professor of 30 years, and summer Italy resident he brings a current and power tool driven approach to stone sculpture. Using alabaster or marble, Enzo works with beginner and experienced participants in the development of classical, figurative and abstract forms. His innovative approach to sculpture helps his students make the most of their sculptural vision. Interesting sessions on stone joining and laminating to add interest to your sculpture. And learn how to make those Italian paper hats worn by Italian artigani.
A concentrated and idea filled workshop. Limited to 10 participants. You will enjoy the energy and creativity of Enzo's workshop.
FEB 26-29, Thur-Sun 9:00-5:00 (with evening hours upon class request), four full days [$395] call 561-832-4401 to reserve your place.
Get to know Enzo, read Issue 5 of our eNewsletter (online) for his interview
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6. PLEASE SEND SCULPTURE QUOTES (maybe win $25 gift certificate)

I have included a sculpture related quote at the top of this issue. I hope it is inspiring and interesting. If you have an interesting sculpture related quote please send it to me. Please include the name of the person who said it. All of the quotes that are sent are being compiled into a list of quotes related to sculpture that I will soon be posting on the Montoya website. I would appreciate your help in building this list of quotes directly related to sculpture. Quotes can be from recognized sculptors of the past or from a teacher or friend. Send me your sculpture related quote, and if it is selected I will send you a Montoya Sculpture & Supply $25 gift certificate and put the quote in the next issue. Email me at Jeff@MontoyaSculpture.com

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(c)Copyright 2004 Jeff Halverson