Watch for updates every week!
An interesting journey on the road, sculpting from wood and in clay for bronze sculptures. This blog reflects weekly conversations about sculpting, art shows, museum exhibitions, art organzations, galleries, selling art and the business of art.
Friday, February 26, 2010
Sculpture in Process at Celebration of Fine Art- Uploaded Images
Just uploaded slideshow images (to the right) of the new Toad sculpture Ken just completed, as well as a new wood sculpture he is working on at the Celebration of Fine Art. The new sculpture is being sculpted from Brazilian Mahogany, and next week you should be able to see the brook trout fairly clearly. The dance Ken takes with the wood is fascinating.. choosing the wood for its unusual grain patterning, he plans to use it to recreate the surface of the water in a stream, with the trouts tail hitting the water as it heads down below the water.
Monday, February 22, 2010
Birds in Art moves onto Museum of the Red River in Idabel OK
The Birds in Art, National tour moves on to the Museum of the Red River in Idabel OK, the exhibition opens on March 7 and runs through May 15, 2010. Observing Grace, Ken Newman's bronze curlew was chosen as one of sixty pieces to travel to four museums. The exhibition opened at the Leigh Yawkey Woodson Art Museum in Wausau WI in September and just finished several months at the Muskegon Art Museum in Muskegon MI.
For details on the current exhibition at the Museum of the Red River in Idabel OK visit http://www.museumofredriver.org/ or call 580-286-3616.
For details on the current exhibition at the Museum of the Red River in Idabel OK visit http://www.museumofredriver.org/ or call 580-286-3616.
Sunday, February 21, 2010
End of Week 5 at the Celebration of Fine Art
A Fresco, Wood Sculpture and Sculptural Gourd at the Celebration of Fine Art in Scottsdale, Arizona! Every day new works are created in many mediums. We are just ending week five and Ken is working on a sculpture in Brazilian Mahogany, started it three weeks ago and hopes to get it roughed out by the end of the show.
Wednesday, February 17, 2010
Last Weekend at The Wildlife Experience - 49th Art and the Animal
This is the last weekend of the Society of Animal Artists Exhibition at the Wildlife Experience in Parker CO. The museum tour moves on to the Arizona-Sonora Desert Museum in Tuscon AZ on March 27, 2010.
Tale of Respect, a bronze pheasant sculpture is featured in the exhibition, his first bronze sculpture. This is Ken's sixth consecutive year his work has been accepted into this exhibition. The tour dates are as follows:
March 27 - June 27, 2010 Arizona-Sonora Desert Museum Art Institute, Tucson, AZ
August 21 - October 31, 2010: Green Acres Art Center, Cincinnati, OH
For more details on the Society of Animal Artists visit their website at http://www.societyofanimalartists.com/. Next year the organization will be hosting its 50th Anniversay at the San Diego Natural History Museum over Labor Day Weekend.
Tale of Respect - Bronze Pheasant
Saturday, February 13, 2010
Last Weekend for Birds in Art at the Muskegon Museum in MI
Check out the best International bird art exhibition: Birds in Art at the Muskegon Art Museum in Muskegon MI. The tour then heads to the:
Museum of the Red River
Idabel, Oklahoma
http://www.museumoftheredriver.org/
580-286-3616
March 7 – May 15, 2010
Arizona-Sonora Desert Museum
Tucscon, Arizona
www.desertmuseum.org/arts
520-883-1380
July 3 – September 5, 2010
Wildling Art Museum
Los Olivos, California
http://www.wildlingmuseum.org/
805-688-1082
September 27, 2010 – January 2, 2011
Museum of the Red River
Idabel, Oklahoma
http://www.museumoftheredriver.org/
580-286-3616
March 7 – May 15, 2010
Arizona-Sonora Desert Museum
Tucscon, Arizona
www.desertmuseum.org/arts
520-883-1380
July 3 – September 5, 2010
Wildling Art Museum
Los Olivos, California
http://www.wildlingmuseum.org/
805-688-1082
September 27, 2010 – January 2, 2011
Wednesday, February 10, 2010
Always good to review your Artist Statement - Any Comments/Suggestions?
ARTIST STATEMENT
As we become distanced from the natural world, my sculptures capture a unique view of nature where discovery becomes a focal point. I am drawn to question and interpret the relationships of man and nature and how each influences the other. It is a reflection of time and places during this journey called life. Not an arrived destination, but an effort to understand the world around me (us).
I create art to impact the viewer’s thoughts and perceptions of nature, not for a sculpture’s simplicity or beauty. Sculpting from a single piece of wood; my goal is to create a respect for nature and to convey and share my appreciation and understanding of wildlife. It is a passion that only continues to mature as I sculpt in different mediums and subjects.
My sculptures are based on the simple forms and characteristics of the found wood; this generally provides the abstract design, which is the foundation of each sculpture. The reductive nature of sculpting from a single piece of wood has become second nature over the years and I continue to sculpt in wood for the pure enjoyment of the medium. Working in wood requires flexibility, humility and patience, which is rewarded with a uniqueness that cannot be replicated. Woods’ warmth, innate beauty, tactile attraction and unique characteristics make the medium a constant inspiration.
KEN NEWMAN NSS AAA AA SAA AFC
Elected Member – National Sculpture Society (NSS) New York
Elected Member Allied Artists of America (AAA) New York
Elected Member – Audubon Artists, Inc (AAA) New York
Signature Member – Society of Animal Artists (SAA) New York
Signature Member – Artists for Conservation (AFC) Canada
As we become distanced from the natural world, my sculptures capture a unique view of nature where discovery becomes a focal point. I am drawn to question and interpret the relationships of man and nature and how each influences the other. It is a reflection of time and places during this journey called life. Not an arrived destination, but an effort to understand the world around me (us).
I create art to impact the viewer’s thoughts and perceptions of nature, not for a sculpture’s simplicity or beauty. Sculpting from a single piece of wood; my goal is to create a respect for nature and to convey and share my appreciation and understanding of wildlife. It is a passion that only continues to mature as I sculpt in different mediums and subjects.
My sculptures are based on the simple forms and characteristics of the found wood; this generally provides the abstract design, which is the foundation of each sculpture. The reductive nature of sculpting from a single piece of wood has become second nature over the years and I continue to sculpt in wood for the pure enjoyment of the medium. Working in wood requires flexibility, humility and patience, which is rewarded with a uniqueness that cannot be replicated. Woods’ warmth, innate beauty, tactile attraction and unique characteristics make the medium a constant inspiration.
KEN NEWMAN NSS AAA AA SAA AFC
Elected Member – National Sculpture Society (NSS) New York
Elected Member Allied Artists of America (AAA) New York
Elected Member – Audubon Artists, Inc (AAA) New York
Signature Member – Society of Animal Artists (SAA) New York
Signature Member – Artists for Conservation (AFC) Canada
Monday, February 8, 2010
4th Week at Celebration of Fine Art in Scottsdale AZ
Week 4 of 10 begins at the Celebration of Fine Art. Over 100 artists are working in their studios with current works and works in progress. All the artists are settled in, and new works are being created daily. It you are a twitter fan, make sure you follow Ken @newmansculpture - posts are made daily as works progress and updates on show events are posted. Also, visit the http://www.nwsalon.com/ website for artist collaborations.
WEEKLY EVENT: Saturdays through March 27, 2010
2010 Celebration of Fine Art invites you to join us every Saturday throughout the 10 weeks for wine tastings from Bacchus Wine Made Simple. Each Saturday from 12noon to 6pm Bacchus will feature specially selected wines to please the preferences of any wine lover. In addition to the tastings, wine will be available by the glass or bottle. http://www.celebrateart.com/
Work in Progress
2010 Celebration of Fine Art invites you to join us every Saturday throughout the 10 weeks for wine tastings from Bacchus Wine Made Simple. Each Saturday from 12noon to 6pm Bacchus will feature specially selected wines to please the preferences of any wine lover. In addition to the tastings, wine will be available by the glass or bottle. http://www.celebrateart.com/
Thursday, February 4, 2010
The Wood Process - Ken's Perspective
Ken is often asked how a wood sculpture starts...Here is an overview:
FINDING THE WOOD - Ken has a large collection of found wood and always enjoys being out in the woods, there is always more wood to find. Each piece of wood is chosen for its uniqueness rather than its carve-ability and he always says there is no bad piece of wood. He has proven that over the years, carving in insect riddled wood, as well as premiere hardwoods.
THE WOOD SITS – The wood is usually downed and weathered. He maintains a mental picture of his inventory and when he decides on a concept he recalls the woods and chooses one that compliments the subject, concept or form.
CONCEPT – There is no blueprint, sometimes not even a sketch, just a unique concept that evolves as the wood is removed.
INVESTIGATION – Once a concept and wood is chosen, Ken investigates the raw form of wood, poking and prodding to determine its integrity, structure and uniqueness. Mass areas are identified and the concept begins evolving.
CARVING – Much of the time on a wood sculpture is spent walking around it, moving a little wood here or there while deciding where to make the next cut, like a chess match, each move sets up a move further down the road or doesn’t allow you to make the move at all. Using single pieces of wood in raw forms is Ken’s passion and he loves a challenge.
TOOLS – Ken uses everything from a chainsaw to chisels and rasps to move wood, he feels most comfortable with hand tools – but uses powers tools when necessary.
FINISHES - Ken typically uses a hand rubbed Tung oil finish, which requires the patience of a saint. A Tung oil is a tedious but beautiful finish, which is easy to care for and allows the natural oils of people’s hands to only enhance the sculpture with age. A wax finish is applied on most sculptures, allowing easy care with lemon oil.
BASES – Wood, steel, marble, copper, stone and a variety of other materials have been used on his wood sculptures. Each compliment or are integral to the sculpture.
On the right of the screen, watch the short slideshows on the wood sculptures.
FINDING THE WOOD - Ken has a large collection of found wood and always enjoys being out in the woods, there is always more wood to find. Each piece of wood is chosen for its uniqueness rather than its carve-ability and he always says there is no bad piece of wood. He has proven that over the years, carving in insect riddled wood, as well as premiere hardwoods.
THE WOOD SITS – The wood is usually downed and weathered. He maintains a mental picture of his inventory and when he decides on a concept he recalls the woods and chooses one that compliments the subject, concept or form.
CONCEPT – There is no blueprint, sometimes not even a sketch, just a unique concept that evolves as the wood is removed.
INVESTIGATION – Once a concept and wood is chosen, Ken investigates the raw form of wood, poking and prodding to determine its integrity, structure and uniqueness. Mass areas are identified and the concept begins evolving.
CARVING – Much of the time on a wood sculpture is spent walking around it, moving a little wood here or there while deciding where to make the next cut, like a chess match, each move sets up a move further down the road or doesn’t allow you to make the move at all. Using single pieces of wood in raw forms is Ken’s passion and he loves a challenge.
TOOLS – Ken uses everything from a chainsaw to chisels and rasps to move wood, he feels most comfortable with hand tools – but uses powers tools when necessary.
FINISHES - Ken typically uses a hand rubbed Tung oil finish, which requires the patience of a saint. A Tung oil is a tedious but beautiful finish, which is easy to care for and allows the natural oils of people’s hands to only enhance the sculpture with age. A wax finish is applied on most sculptures, allowing easy care with lemon oil.
BASES – Wood, steel, marble, copper, stone and a variety of other materials have been used on his wood sculptures. Each compliment or are integral to the sculpture.
On the right of the screen, watch the short slideshows on the wood sculptures.
Wednesday, February 3, 2010
Week 3 of the Celebration of Fine Art
Northwest Salon at the Celebration of Fine Art
Hope to see you soon!
Tuesday, February 2, 2010
YouTube Video at the Celebration of Fine Art in Scottsdale AZ
Video of the NW Salon at the Celebration of Fine Art in Scottsdale AZ
Check out the above link on YouTube and then visit us until March 28, 2010 at the Celebration of Fine Art, along with 100 working artists in Scottsdale AZ.
Check out the above link on YouTube and then visit us until March 28, 2010 at the Celebration of Fine Art, along with 100 working artists in Scottsdale AZ.
Toad Nears Completion at Celebration of Fine Art
Oak Burl on Forged Copper Leaves with Stones on Oak Base
Monday, February 1, 2010
More Steps on the Bronze Process
Creating a bronze sculpture requires a complex process involving months at the foundry using the Lost Wax process.
MOLDING –The mold maker determines how the sculpture will be cut up based on how large or the complexity of a sculpture. A two part mold is created of each piece; the first mold skin layer consists of latex or silicon rubber that is applied in a liquid state and left to solidify to a flexible material that captures all of the detail of the original clay surface. The next layer or mother mold is then applied directly onto the skin layer. The mother mold is usually made from plaster or fiberglass resin and is there to cradle the skin mold to keep its original form. The skin molds are cleaned and allowed to dry.
WAX POURING - Liquid wax is poured into the mold, allowed to cover all the surfaces inside and then poured out; this is repeated until the right thickness is applied. The wax is removed from the mold.
WAX CHASING – Seam lines and any imperfections are removed from the wax copies.
SPRUES and GATING–Wax bars are attached to the wax mold and then affixed to a wax “pour cup.” These sprues (or gates) are positioned to allow the molten bronze to flow evenly to each part of the piece.
THE SHELL – With the wax, sprues in place and attached to a wax cup they are dipped into a mixture of silica and water. The mixture coats all the wax surfaces, inside and outside. Gradually, thicker layers of silica are applied and, after each coat, the piece is left to slowly dry. Eventually, the silica is thick enough and has dried extremely hard.
LOST WAX-The Burn Out– The wax, sprues and cup - all encased in hardened silica shell - is then placed inside a kiln that has been heated to about 1800°F. The shell “vitrifies” (changes into a glass because of the high heat) and the wax simply melts out, a hollow impression of the sculpture is left.
METAL POURING – The silica shells are heated again in the kiln. At the same time, ingots of bronze are dropped into a crucible and melted to about 2,100° F. Foundry workers wearing protective gear then transfer the shells from the kiln to a rack near the furnace and crucible. The shells are hung, open cup-side-up, on a rack. They then hoist the crucible from the furnace and maneuver it to the rack, finally pouring the bubbling, lava-like molten bronze into the cups.
SHELL REMOVAL – After the shells have cooled, hammers and other tools are used to break the silica shell from the bronze. Once the large pieces have been removed, the piece is taken to an enclosed sandblaster where the rest of the shell removed.
METAL CHASING – Talented artisans then assemble the bronze by welding parts together, smoothing, grinding and tooling to match the original surface textures. The final bronze textures are checked by the artist and foundry to insure quality.
PATINA - Using heat, water and specific mixture of chemicals, the patineur creates tone, color and hue on the sculpture, this patina also acts as a protection coat to prevent oxidation and requires special skills. Ken works with the patineur to create patinas that move the eyes through the sculpture.
BASES – Wood or other bases are created by Ken and bronzes are mounted.
MOLDING –The mold maker determines how the sculpture will be cut up based on how large or the complexity of a sculpture. A two part mold is created of each piece; the first mold skin layer consists of latex or silicon rubber that is applied in a liquid state and left to solidify to a flexible material that captures all of the detail of the original clay surface. The next layer or mother mold is then applied directly onto the skin layer. The mother mold is usually made from plaster or fiberglass resin and is there to cradle the skin mold to keep its original form. The skin molds are cleaned and allowed to dry.
WAX POURING - Liquid wax is poured into the mold, allowed to cover all the surfaces inside and then poured out; this is repeated until the right thickness is applied. The wax is removed from the mold.
WAX CHASING – Seam lines and any imperfections are removed from the wax copies.
SPRUES and GATING–Wax bars are attached to the wax mold and then affixed to a wax “pour cup.” These sprues (or gates) are positioned to allow the molten bronze to flow evenly to each part of the piece.
THE SHELL – With the wax, sprues in place and attached to a wax cup they are dipped into a mixture of silica and water. The mixture coats all the wax surfaces, inside and outside. Gradually, thicker layers of silica are applied and, after each coat, the piece is left to slowly dry. Eventually, the silica is thick enough and has dried extremely hard.
LOST WAX-The Burn Out– The wax, sprues and cup - all encased in hardened silica shell - is then placed inside a kiln that has been heated to about 1800°F. The shell “vitrifies” (changes into a glass because of the high heat) and the wax simply melts out, a hollow impression of the sculpture is left.
METAL POURING – The silica shells are heated again in the kiln. At the same time, ingots of bronze are dropped into a crucible and melted to about 2,100° F. Foundry workers wearing protective gear then transfer the shells from the kiln to a rack near the furnace and crucible. The shells are hung, open cup-side-up, on a rack. They then hoist the crucible from the furnace and maneuver it to the rack, finally pouring the bubbling, lava-like molten bronze into the cups.
SHELL REMOVAL – After the shells have cooled, hammers and other tools are used to break the silica shell from the bronze. Once the large pieces have been removed, the piece is taken to an enclosed sandblaster where the rest of the shell removed.
METAL CHASING – Talented artisans then assemble the bronze by welding parts together, smoothing, grinding and tooling to match the original surface textures. The final bronze textures are checked by the artist and foundry to insure quality.
PATINA - Using heat, water and specific mixture of chemicals, the patineur creates tone, color and hue on the sculpture, this patina also acts as a protection coat to prevent oxidation and requires special skills. Ken works with the patineur to create patinas that move the eyes through the sculpture.
BASES – Wood or other bases are created by Ken and bronzes are mounted.
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