Summer 2012
Inside this Issue: 21st Annual Loveland Sculpture Invitational When Bronze meets stained glass A different Angle: Photography by Weston
An exclusive online publication by Eternal Sun Studios
From Graphite To Glass……..........………………..…..4 21st Annual Loveland Sculpture Invitational.………….8 Sculpture Highlight: “All But Lost”…………………..10 A Different Angle……………………………………..12 Inside the Studio……...……………………………….14 Upcoming Events……………………………………..16 In the Next Issue………………………………………17 Contact Weston………………………………………..18 Visit Eternal Sun Studios online by clicking one of the icons below:
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The “Temporis� glass panel began as a pencil sketch, before being digitized and mastered to produce the final design.
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From Graphite To Glass: The Making of “Edge of Time”
Despite this being the first appearance of stained glass in my artwork, it was not my first time working seriously with it. You might not think a nuclear physicist would have many artistic inclinations, but this is not the case for my grandfather, Robert R Brownlee, who is still producing masterful work even in his late-eighties. I was fourteen when he passed his expertise along to me, permitting me to take on the ambitious project of building a stained glass globe—which I have yet to finish. The process of creating bronze is a lengthy one without the incorporation of an additional medium. From the actual sculpting, the mold making, all the way through the foundry and final touches, finishing bronze can take months—if not years. Stained glass proves a complementary medium in more than just its aesthetic harmony. By the time the last cell is fused and the full panel is mounted, just as much time can easily have passed.
It wasn’t long after I began working in bronze that I knew I eventually wanted to merge these two mediums. After spending some time at sketches, I had a slew of ideas which could easily last me the next decade. Settling on the one I did gave me the chance to pursue several ideas that had been building steam for some time. Of all my work, “Edge of Time” is the most true to being a complete representation of myself in my artwork. The concepts may not be completely apparent, but this sculpture incorporates my love of dinosaurs, reptiles, general science, mathematics, physics, and much more.
While it didn’t take me a full year, I spent part of 2011 and the first half of 2012 working on the various elements that compose “Edge of Time.” While it’s not my The specific idea of sculpting what I’ve largest sculpture to date, the amount of come to refer to as “extinct wildlife,” was work involved made it my largest something I shied away from for a while. In Undertaking to date. the current market, only a handful of
Of known artists do much with reptiles, let alone dinosaurs. Going through the process, I’ve come to think this has more to do with the tendency for dinosaurs to be represented with a slightly cartoony appearance, or their representation in ways that leave them feeling unreal, or highly stylized. I spent a lot of time looking at the skeletal structure of Pterosaur fossils, and then focused on realistic muscle tone as the basis for my clay version of the Pterandon. The Desert Spiny Lizard was similarly something I spent a lot of time looking at in photographs, with an aim set on capturing expression and life, along with posing it in a way that created motion in the whole composition. This affected the sizing as well, since I did not want there
Native to parts of Colorado and the Southwest, the Desert Spiny Lizard is most notable for its size and thick scales.
to be an appearance of a predator-prey relationship between the two creatures. Keeping that feel in the composition proved a major challenge because the Pterandon was not attached in any way to base until the final bronze was completed, demonstrating that bronze work requires a
mind-set oriented toward the way every-step of the lost wax process will play into the end result.
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The glass panel added another huge dynamic to that mind-set. Once the initial design was done, I had to set about finding the colors and quality of glass I wanted to use—lucky for me, my grandfather has what he terms a “500 year’s supply,” in his glass shop. The actual process begins with tracing the pattern onto vellum, and cutting out each cell before using glass cutters to rough out the desired shape. Once you’ve done that, the real gritty work beings. Each cell must be ground as close as possible to a perfect match of the original design. As pieces are finished, they are placed on top of the pattern and reground as needed until every piece is fine tuned. At times it can definitely be tedious, but for me it’s a relaxing way to think and do work that’s going to produce an end result which is beautiful. Foiling the glass cells come next. Copper foil is used to edge each cell, and then coated with an acid based “flux” in order to force the solder to adhere. After that, each piece is joined and beaded into the permanent panel using a soldering iron, before a patina is applied to age the color to its desired state. Having started all of this in October, I’m sure it’s not hard to imagine my excitement when I was able to take the last support off the glass in July after the epoxy had cured. To date, this is without a doubt my favorite sculpture, and one which I hope paves the way for my new
direction as a sculptor. It balances a great many ideas, enough so that in order to grasp the true spectrum, you’ll have to take a look at my blog and Facebook page to see how this sculpture unfolded and find more out about some of the meaning behind it. “Edge of Time” Patina by Weston 16” x 14” x 6” Edition of 20 $4,200.00
The 21st Annual Loveland Sculpture Invitational
So much work goes into getting ready for the Loveland Sculpture Invitational, it really is hard to believe that another year has come and gone. Of the shows and exhibitions I participate in, this one is by far my absolute favorite—not to mention the largest. If you’ve never managed to come out an see it, I really recommend you try to end up in Northern Colorado some August. The show is well worth the trip—however far it may be. Believe it or not, visitors literally come from all over the world. And while it’s not really common knowledge, the city of Loveland is actually a major bronze hub for the nation. I’m not sure how the fact has flown under the radar for so long, but a tremendous number of professional artists live and work just a stone’s throw away. Since I started attending in 2010, each year has carried a little bit different feel, and brought about new opportunities. By the end of Sunday, when I reflect on the weekend I am most contented by the simple reminder of where I have come from and where I am now. Pursuing a career in sculpting was not something I had planned, or even dreamed
of doing. Just having the chance to be in such a prestigious show and do something I love is a tremendous gift. One of the things I enjoy most is talking with the people who take the time to stop by my booth. It is always fun hearing what it was about my work that drew them to it. During the course of the weekend I hear everything from conversations about a shared love for reptiles, mutual acquaintances, and even amazing stories one of my pieces triggered the memory of. It really is the viewers, not the artists, who make the show what it is. Now that I’ve settled out of show mode and have had the chance to clean up my studio, I’m looking forward to another year filled with fantastic new opportunities and new work. Things are already rolling. Two very exciting developments in my career: As of August 14th, I am a member of the Guild of Natural Science Illustrators, and I am now represented by Creations Art Gallery in Louisville Colorado. I’ll have more information on all of that as we come further into fall. For now, I can’t wait to get back to work on some new sculptures. There are a few ideas in particular, which have been
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“Between Worlds” always catches eyes. If you like frogs and my work with vessels, be sure to keep a lookout for new pieces of a similar nature during the coming year..
building for quite a while and I’m really itching to make some progress with them. I’m reaching a position in which some larger sculptures should start turning up soon, which will bring along some great chances to try to get some pieces in public venues. My work in the coming year is going to continue to expand my growing subject-matter while building my portfolio of bronze and stained glass, but there are also a few new vessels similar in concept to “Between Worlds” I have in in mind. Besides that, there’s no telling what idea might suddenly catch me by a whim. All in all, the upcoming year looks very promising, and Eternal Sun Studios is building steam moving into it. It will be great to see what happens between now and the next invitational, and I already can’t wait.
Sculpture Highlight: All But Lost
It’s not often my sculpting is inspired, in part or full, by real world issues, but this one was and the story behind its creation is as unique as the piece itself. Earlier this year I discovered a spectacular blog called “The Featured Creature.” I thought I knew my reptiles, but after spending some time browsing, I stumbled across amazing species I’d never heard of. With my mind blown at the spectacular features and qualities of the truly exotic, one lizard in particular caught my eye. As soon as I saw the Arboreal Alligator Lizard I knew I had to sculpt it! I wasn’t really sure what would happen after sending some pictures of my work in, but before I knew it, the founder, manager, and writer of the acclaimed blog, Carly Brooke,
was working with me to structure a contest centered around the piece inspired by the Arboreal Alligator Lizard. The final result was “All But Lost.” The title comes first from the fact that the Arboreal Alligator Lizard is |critically endangered. Due to their unique beauty and vibrant green coloration, the species has gained considerable popularity in the illegal pet trade, which is impacting their populations in the wild. The other side of the title
comes from the sphere, and my desire to sculpt something which looked both ancient, yet sophisticated. Quite literally being the most stable form in physics, spherical geometry, motion, and proportions have always been of particular interest to me. I find it odd that from a scientific perspective, it’s really the most common geometric form, but to our way of thinking, it’s a structure we don’t really make much use of. I’ve always loved
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science, and this sculpture is the first I’ve used to really show that. Combining the abstract with strict realism was another goal I had in this piece. Truthfully I used to despise abstract art, but I have come to appreciate its potential and aesthetics. In regards to my own work , I am very excited at the chance to explore both styles’ power to create visual harmony, which is truly unique. This sculpture was a blast to create and I look forward to seeing how the public continues to respond to it. Be sure to check out Carly’s blog “The Featured Creature” by clicking the icon to the right—it truly is a fantastic site. If you happened to miss the contest, there are still 48 sculptures left in this edition. Contact me for the details.
A Different Angle: Photography and the Artistic Process
My process as a sculptor, and ultimately my creativity in general, are both tremendously influenced by forces and experiences seldom apparent in my actual work. Photography is a medium I very much enjoy for the reason that it captures images that trigger some of the ideas I have, and depicts the way I see what I see in the world around me. I certainly consider myself an amateur, but I love shooting my own photographs. It’s something I’ve done for quite a while, but it’s not often I have access to a camera capable of really getting hi-res images. From landscapes to, of course, lizards, there’s no telling what I may happen to see that will strike a chord with me in some way. You might not think the Colorado prairie would be a
place with much to see, but in truth there is a lot going on. I enjoy PAGE 13 have the chance to walk around and really spend some time observing what you fail to notice just passing through. Pictured on the left are a few Earless Lizards, so named for the fact that their ears are actually internal, and thus invisible. For being no more than about three or four inches long, these guys are awfully fast and really have quite a bit of personality—if you get the chance to actually watch them a little. Perhaps it’s just me, but they tend to look at you like they’re not sure what to think, or like they’re sizing you up. Another series of shots I was very pleased to get were of the Dragon Fly pictured below. The kind of detail macro-photography is able to capture is nothing short of astounding. The complexities of the things we simply don’t see is marvelously beautiful I’d love to get a shot of a hawk or even better, an owl, but those guys always seem to avoid me when I have a camera—go figure I see them all the time when I don’t have one. Hopefully in coming issues, this section will continue to show off images that inspire me, catch my attention, or that are just pretty cool. If you are particularly interested in a photo shown here, all are available for sale as high quality prints, with a variety of dimensions and finishing options. Contact me if you are interested.
Inside the Studio Rather than blather on here about more upcoming projects, this section is getting a bit of a makeover, and focusing on different topics in the sculpting industry, with the hope of eventually including all sorts of cool elements like video. This issue covers all things clay: It might seem like the only thing to it is grabbing a blob and whipping out something for casting, but there’s really al lot that goes on with the clay itself. Did you know the clay used for any investment cast material is oil based? While potters have to worry about keeping their clay moist for firing, bronze sculptors don’t have to worry about their material drying out. You could keep a sculpture in clay for quite a long time and still be able to go back and make changes. Cool it down it gets rock hard, heat it up and it can even be liquefied. As the base material used by bronze artists, it’s by far the most important. Certain clays are harder and better for holding fine detail, while others are softer and allow for a more organic method to shaping them. The varieties of oil-based clays are staggering, and each one really does offer something unique. In terms of working a given type of clay, most sculptures tend to begin with an armature of sorts, especially if they’re at all large. Solid clay sculptures can create complications in the finished piece holding its own weight, and how easily it can be molded. While armatures can get quite complex and fancy, some of my most popular sculptures started out as nothing more than paper towel tubes, chopped up vitamin bottles, and cardboard. Once you really start shaping the clay, there’s two methods sculptors tend to use. Some like reducing a large amount of clay into their desired shape, others like adding more to a smaller base. When done well, neither really offers any advantage over the other. I tend to move between both methods, preferring one over the other depending on the area or object in question. Perhaps it sounds a little corny, but having a strong feel for whatever you’re trying to form trumps relying on a given technique.
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Until about a year ago, I did most of my work completely with my hands, using make-shift tools when needed. As my style has grown more refined, so have my tools. I still do a lot of work with my hands, but once I come to detailing and fine shaping I rely on “clay shapers.” I don’t know what the real name for them is, but basically they are paint-brush sized tool with flexible, rubber tips. I’m completely addicted to these! The process of working with them is comparable drawing in 3d. They allow me to have a tremendous degree of control of the tiniest details, which is really what lets me produce realistic looking work. I can literally spend hours moving clay around over a field no larger than a few scales, making subtle contour changes to an eyeball, or creating textures to match rough skin or even fur and feathers. In my work, the little details are what make the finished sculpture. While I admire some work in the vein of very loose and figurative, my approach and methods of working my clay is what ultimately leads to the realism I strive for. My background in drawing taught me that depth and contour, not defined lines and boundaries , are really what adds a quality of life to any subject matter. That background has led me to think in terms of a sculpture as one whole, as opposed to plane and fragments. If you’ve ever thought about trying your hand at sculpting, I recommend picking a softer oil-based clay, as it’s usually much easier to work with and is well suited for just about any style of sculpting you hope to do. If you happen not to know where to look, check out this link: http://www.sculpturedepot.net/ They have just about everything you would need for any sort of investment casting, and offer great workshops on an array of subjects. Worth browsing weather you’re serious or just curious as to what all is out there. Is there a specific topic you’d like to know more about? Email Weston and he’ll be sure to feature it here….
Upcoming Events Lots of great events to look forward to through the fall and winter! More details to follow in coming issues. Social Media and Marketing Class: October 2012 The Showcase Art Center, Greeley CO Weston will be teaching a class focusing on how to use social media and a web-presence not just to gain exposure, but to make meaningful connections with people who appreciate your work. For artists and any new business in the creative sector.
Friday Night Art Walk: TBA 2012 Creations Art Gallery. Louisville, CO More information to come...
Moore and Brownlee, Dual Exhibition: January 14th– February 15th. Mari Michener Gallery. Greeley CO Opening Reception Friday February 8th, 4pm to 6pm. Dual show, featuring the work of Weston and his mentor, J.G. Moore.
Pending Shows: Lone Tree Art Exhibition: October 20th-Decembe 9th 2012. Lone Tree CO.
Is Something Missing? Was there a piece you remember from another issue, or were hoping to see this time? While Heliosphere is not a catalogue of Weston’s complete bronze portfolio, we are happy to direct you to one or send an electronic copy. Please note hard copies are only available by special request and may associate a small surcharge for printing expenses.
In the Next Issue...
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Coming this Fall: -See the completed “Astrum” panels, and Weston’s new sculpture, “Drops in Ether” and other new work. -Find out more about the Creations Art Gallery and events going on there. -Get the inside scoop on and exclusive Holiday Season offer. Keep up with Weston’s work and progress by visiting his blog at www.eternalsunstudios.blogspot.com
Eternal Sun Studios is a fine art production and representation company. Our services include: Commissioned Sculpture Mold Making and Metal Chasing Patina for Bronze Artist Agent, and Social Media/Marketing Consultant Contact Weston at weston.brownlee@gmail.com