VIEW IN MY ROOM
United States
Sculpture, Bronze on Bronze
Size: 12 W x 7.5 H x 6 D in
Ships in a Crate
Lexi's aunt had modeled for me some years ago. Her aunt is an exceptional photographer and I saw a photo that she had taken of Lexi, when Lexi was 18. The photo was stunning, and I told her aunt that I would like to work with Lexi. She had already suggested that Lexi work with me. So, we got together. She is a natural model, and came up with a number of excellent poses. I hope we can pursue some of the other poses in the future. Note about the base: Like all of my sculpture bases, this is granite. For this base, because it is so wide, my stone cutter makes a box out of granite. Since it is a box, the screws are all concealed, it's not ridiculously heavy. Explanation of limited edition: I sculpt in wax, then my foundry makes molds of my work, shoots wax copies from the molds, I work on the wax parts, then the foundry casts them in bronze. So, in addition to sculpting the original piece, I spend hours working on the wax copies before they are cast in bronze. Although I resumed sculpting in 2007, I am only now (2019) listing them with a gallery (Saatchi). When I take a sculpture to the foundry, I have one piece cast of a sculpture, and I mark it number one. If I sell that sculpture, I have the foundry cast another copy and it is number two. I keep a record of the person who bought a sculpture. When I cast the 10th copy of a sculpture, I will destroy the mold and make no more copies of that sculpture.
Sculpture:Bronze on Bronze
Original:One-of-a-kind Artwork
Size:12 W x 7.5 H x 6 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
My bio follows after this paragraph, but it's important to share this information, and I don't see another prominent place to post it on my page. I sculpt in wax, then my foundry makes molds of my work, shoots wax copies from the molds, I work on the wax parts, then the foundry casts them in bronze. So, in addition to sculpting the original piece, I spend hours working on the wax copies before they are cast in bronze. Although I resumed sculpting in 2007, I am only now (2019) listing them with a gallery (Saatchi). When I take a sculpture to the foundry, I have one piece cast of a sculpture, and I mark it number one. If I sell that sculpture, I have the foundry cast another copy and it is number two. I keep a record the person who bought a sculpture. When I cast the 10th copy of a sculpture, I will destroy the mold and make no more copies of that sculpture. As you see, that is very important information to share with you. I apprenticed to Belgian portrait sculptress, Jeanne Gevaert in Atlanta, after school during my junior and senior years of high school (1970-1972). The summer of 1972 as high school wrapped up, I began an apprenticeship to goldsmith/avant garde artist, Peggy Ackerly (in Atlanta)(Peggy was a protege of Sam Kramer, Greenwich Village, NY, NY, who she worked under from 1943 - 1964, until his death). I apprenticed to Peggy for a year, and opened a studio in an old duplex she bought on 9th Street (in Atlanta). I moved to Coconut Grove in August of 1973, and enrolled in the school of architecture at the University of Miami. At the University of Miami I studied architecture under Andres Duany, who is the father of the New Urbanism Movement in architecture, and Philadelphia architect, Philip Steel. In Coconut Grove, and later back in Atlanta, I continued to make jewelry throughout my college years. The financial crisis in the 1970's crushed my family, so I did not complete my studies in architecture, but returned to Atlanta and earned an BBA at Georgia State University. After college, I entered the construction business, and began designing and building homes in 1980. I was very young for a homebuilder, so I designed modest middle class homes, The homes I built were attractive and logically oriented, but nothing exciting. Older builders would tease and ridicule me for trying to make improvements on the basic format.
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