2. PORTRAITS - DRAWING - PHOTOGRAPHY

ARTISTIC PROCESS

The artistic process is inspiring to follow. Here I show the process of carving stone and wood. Stone fascinates people. In our unconscious mind we think of stone as an ancient symbol that endures for an eternity, so people often ask me:"How in the world do you carve stone?" as if I had magic powers. First, any stone that is possible to carve is considered "soft" such as soapstone, alabaster, limestone, marble, granite, jade, etc. You probably cannot carve the stone in your backyard because it is igneous rock and extremely hard. There is "direct" carving and "concept" carving. I usually use the "direct" carving method as you see here which means I need to keep my imagination open and flexible to all possibilities of how to fit my idea into the given shape. Often the completed sculpture has more power because it has merged with the life force in the movement of the shape of the medium. I find that drawing daily is essential because it expands my vocabulary of design in life forms so I can develop my unique art language.
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Ginny Walden carving "Diana" from the Goddess Series in black steatite.<br /> The process of carving takes patience and precision and<br /> an ability to "see" the complete work within the stone.
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Ginny Walden carving "Diana" from the Goddess Series in black steatite.
The process of carving takes patience and precision and
an ability to "see" the complete work within the stone.

diana

  • Ginny Walden carving "Diana" from the Goddess Series in black steatite.<br /> The process of carving takes patience and precision and<br /> an ability to "see" the complete work within the stone.
  • 2. Goddess Series: "Diana, the Athlete" steatite $5900.(SOLD)<br /> Here is the finished piece started in previous photo.
  • No1-4: START!I start with the head position, since this determines the body position. Then I use the claw chisel and mallet to block out the figure. The lines made by the chisel help me see the contours of the limbs and back.
  • No.5-8: Here I use a half round rasp to file off the chisel lines and smooth and shape the body. Notice in 5 and 6: how I made the hands large and still attached to the stone before I cut them apart.Then I shape the hands and forearms very gently so they do not break.
  • No.9-12: Here I am using various rifflers to shape the individual limbs and gestures of the figure. I am opening up the spaces under and around the arms and refining the thighs.
  • No.13-15:Next, refining the legs and finding their correct proportions with the arms. Notice the line deepening between the thighs to define the form.
  • No.16-19: Now I am making major decisions about how far in the waist goes to ceate more space. Space is as important as solid form in sculpture. It creates energy,interest and an experience of seeing through to the other side of the form so your eye moves around the figure. This brings life to the piece.
  • No.20-23: Now I refine the whole figure and add a line down the back to add strength and interest. I carve as far as I can between the thighs. This deep line adds shadow and mystery.I create the final gesture of the hands and fingers.This is a fragile moment!
  • No.24-26: Notice how the space between the hands creates tension and interest. The alabaster ball is translucent and represents our spirtual being as Light.The gesture of the palms is protective. There is no face on the figure so it is universal and more an inner part of our being.
  • No.27-28: Now I define the spine and crack in the buttocks. I see them as a line.This brings the eye up along the back to the head. Then I define the feet. The lines in the toes also create an upward movement in the design. The figure has human characteristics but stylized to show it is from the Inner World.
  • No.29-30: Now the ball of Light is in place and the sculpture is totally carved.I have sanded the stone smooth by hand with wet and dry sandpaper and water. Notice now the wet stone turns very black. Notice the dramatic contrast of light and shadow. Sculpture is drama. All form and space is emphasized and simplified more here than in our outer life. My art comes from the inner world of symbols that speaks to us on a deeper level
  • No.31-32: I finish the piece by applying a liquid stone polish.<br /> I do not usually put a shiny protective acrylic coat, but the<br /> collector who commissioned this piece requested it. I prefer a matt finish which is more subtle as in No. 30. Finished!
  • Let's carve WOOD!<br /> First..set up your wood carving tools with mallets, various chisel and knives, and a horizontal vice, C-Clamps and Bar Clamps. Then find some quality wood to carve. I prefer woods that do not attract bugs like cedars from NM and Koa and Kamani wood from Hawaii. Then my Collectors know my valuable artwork will endure many years.
  • First I select some Saltillo cedar from my wood pile which needs to be dried but not cracked. To prepare the wood for carving, I need to strip off the bark and soft wood to expose the hard heartwood which is beautiful for carving. Here you see the cedar heartwood ready to carve.
  • Now I clamp the cedar securely into the horizontal vice and start stripping off bark with a wide flat chisel. I like to carve at waist level or higher. I need to feel comfortable when I carve so I built a small wood platform to stand on so I can adjust my carving height as needed.
  • Here is a closer look at the cedar in the horizontal vice and the chisels and hickory mallet that i use.
  • I put my weight behind the chisel so I can guide it properly. Always carve away from your body so if the chisel slips it won't harm you.
  • I carve small shallow chips to get to know the wood and find the basic shape it offers.
  • When the wood starts to slip in the vice I use a towel and a brace on top to hold the wood firmly in place while I carve.
  • Here is another view of bracing I use. See the shallow chip marks and how the cedar is taking a shape of a fish.This was my original intention. But now I can see the wood's idea for the fish's shape.

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