Dryad
Link for the making of this sculpt http://erikatakacs.wordpress.com/2008/03/26/dryad-tree-nymph-in-progress/
Erika Takacs Sculpture
Paper maché and clay figurative sculptures and assemblages
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- The Humanist December 28, 2009Posted in Art, Sculpture Tagged: Art, figurative, head, paper mache, papier mache, portrait, sculpture, sculptureserikatakacs
- Encounter: mixed media sculpture December 2, 2009Posted in Art, Assemblage, Sculpture Tagged: Art, mixed media sculpture, sculpture, sculptureserikatakacs
- Pebble Wall Art November 20, 2009I had one last sheet of handmade paper, so I made this. There is something irresistible about instant gratification that comes out of such a quick and enjoyable process. Making sculptures is so involved and slow and exhausting, it’s great to be able to indulge myself into light projects from time to time. Title : “Squished”, guess it […]erikatakacs
- Wall art November 16, 2009Materials used: my own handmade paper, pebbles, twigs, acrylic paint Black Bloom: White Dawn: Posted in Art, mixed media Tagged: Art, mixed media, wall arterikatakacs
- High Heels: The Lady November 11, 2009Just for fun project to go with the other one. I’m really enjoying giving character and gesture to these pieces. They’re alive and well without the rest of their body. Posted in Art, Sculpture Tagged: Art, fun, high heels, lady, mixed media sculpture, sculptureerikatakacs
- The Box – Mixed media sculpture November 6, 2009 erikatakacs
- High Heels October 28, 2009This assemblage is the result of a song that’s played on the radio all the time. One of those catchy melody- silly lyrics- songs that just get stuck in your head for days. I had this sketch laying around for a few months, and now it turned into something that reminds one of the lyrics of [...]erikatakacs
She is fantastic! So calm and so dramatic at the same time.
Wow! What a beautiful piece – it captures the energy of strong roots but branches that flex and sway in the air and the sunlight.
Blessings, Tom
Birgitte, thank you so much!
Starweaver, that’s a beautiful interpretation! Thank you for your kind words.
I Love so much your works and the story they tell.
Thank you, Filipa, that feels good. How was your exhibit?
I like this sudden snap amidst an open dancing movement. it embraces without adherence. I would beg you to compare my watercolour-image KRISTIN on my blog, best you give the name into the searchwindow on the bottom. what do you mean? yours sincerely, rené
Thank you, René!
I liked the ivy but maybe you are right about its breaking off. And her limbs–aren’t you afraid for them? You could have had some leaves attached to her body.I guess you’ve considered all that and decided against it. This is very nice.
I guess the danger of parts breaking off is always there, but should I limit myself because of that? Somewhat, but to what extent? That’s another thing I need to learn through experience. If I could cast her in bronze, it would be great. That would solve the problem. I hope it’s possible to cast her. I liked the ivy too, so I’m thinking of making another piece built around the vine theme, where she’s entangled in it.
Swallows, I can’t decide what should she stand on. I have a wood piece with bark on it, that could work very well, I imagine. Or a clay base would be better? And how do I attach it on? Will glue be enough to hold them together?
In the foundry they can make a cast from your figure just as it is. But then they will wreck the original. They used to prefer a hard model–baked clay or plaster–but now clay in any state will do. It IS clay–isn’t it? What is going to happen when it dries a little? Cracks. Also, with that tin-foil in the arms, you can’t bake it (at least I don’t see how).
Those arms will surely break off sooner or later. Unless you do things in bronze or polyester, you must make figures that don’t have such unprotected parts. That’s one of the many limitations of sculpture.
As to the base, usually (for bronze) you will find it a good idea to make one as part of the general design–the so-called plinth. In your drawing there were all those nice roots. Your figure looks good as it is–the bottom could almost be a dress as well as the trunk. But now what? Convention would put the figure on a flat marble slab or round wooden base. Maybe that last is best, though you say you have made one–in which case yours is certainly preferable. Maybe it has roots and a few flowers or ivy–something to continue with the illusion instead of breaking it so brutally with a flat slab.
There are glues for everything but of course unbaked clay is no good to stick things to.
Swallows, thanks for taking the time to explain in depth. Lots to think about. Yes, it is clay, the air-dry type. It won’t crack any more than already did, and I already fixed the few tiny cracks and sealed it with a good glue-like sealer. The company that makes the clay, claims it’s going to dry to rock-hard state. In fact, I’m going to make an experiment now. Make something very simple, and smash it when dry to see what happens. I’m skeptical of such claims…but will see.
But I do know a foundry, I might take her in for an estimate at least.
Your answer confirmes that I should go with bronze, but makes me sad, it won’t happen any time soon.
Do take your figure to the foundry for an estimate. I imagine you will be shocked at how expensive bronze is. Of course they will want you to make several copies, not just one. You will learn a lot there and it’s best to learn early so you will make your future figures with the new lessons in mind. You will see how important wax is. They will expect you to revise their wax version of your figure before they cast it and you will simply have to start working with wax. I know you think it is not for you but in time you will have to admit that it has every advantage. It needs little or no support, it is extremely light, you don’t have to worry about its drying out. Skilled wax workers can get almost any effect with their tools, even a smooth clay look. Most of us have been forced into working with wax precisely because the foundry casts with wax figures and the sculptor has to repair the flaws and cut down the seams, etc. on the final version.
You will learn all about patinas and bases too and see the work of other sculptors. Yes. go–and hurry!
Swallows, so much positive energy, I need it! Ok, I’ll go, and take my hubby, to catch me when I faint.
I’m sure it will cost close to a thousand $. With the price of metals reaching the sky these days…
Erika
May I take the opportunity to thank you for your kind words and your very useful contribution to my site – very much appreciated.
Your stage-by-stage evaluation of your methods is exactly what my visitors like. Some things work and others don’t, so we each of learn as we go, and can pass on that learning to others in a spirit of ‘paying it forward’
Lovely work, Erika.
Peter