Direct Carving of Marble Stone

Dear Art Lover,

     Beginnings are often dramatic since change happens quickly and memorably.  Let me share with you today the beginning stone carving stages of the contemporary marble sculpture Back to Back.  A special and limited time offer follows at the end of this blog post.  Please share with friends and fellow art lovers.  

The Creation of the Stone Carving Back to Back Contemporary Art:

    This stone was cut from the marble quarried for the artist's carving of the Gymnast. There was a block cut from above the head of the Gymnast.

     I am a direct carver. That means that I draw directly on the stone and cut what I wish to not have there. The other method is to create a sculpture in some other, more forgiving, material and then "translate it" (copy mathematically) into stone by taking measurements from the original. 

You may see the Gymnast as a work-in-progress (WIP) on the right in the background.

    Is it not easy to fall in love with marble? Even though the two images below were taken during the final sanding and polishing stages, her beauty is quite evident. She looks soft with the right curves in place and the little crystals (seen easier in the image on the right) are such a subtle splendor. 

     The next image showing the lower part of the male torso also gives you an idea of how translucent this Colorado Yule Marble can be when thin enough. I like the contrast that gives me so much change in the light interacting with the stone. The image on the right shows "the wet look." I was having a bit of fun while I was washing off a layer of fine marble dust after sanding, preparing for the next finer level of sandpaper. This sculpture is very touchable, even after the sealer has been added for protection. Enjoy touching and looking! 

     Typically, the Colorado Yule Marble will have either gold or a silver/grey veining. This stone has a thicker and harder grey material the quarrymen call "churt." While some people may prefer a solid white stone, I do not. I like knowing that the original art is a real rock with its own personality. I include here some of my favorite detail shots. They show the uniqueness of this marble, as well as the sensuality and softness of one form melding and changing into another. This next image looks like a meteor shower zipping through bodies of snow -- gorgeous! Enjoy!

Back to Back

Colorado Yule Marble
one of a kind
14" h x 9.5" x 9.5"
© Kelly Borsheim

Ships from Austin, Texas USA

$4600, but if you make at least a down payment before 30 September,  I will also add a 12-inch tall female bronze figure Ten, or the bronze male figure Valentine mounted on stone.  Feel free to share this blog post offer with anyone you think might be interested in it. Thank you!

http://www.borsheimarts.com/sculpture/2002/ten.htm

http://www.borsheimarts.com/sculpture/2002/valentine.htm

 Ten - Left

 Valentine - right

Both bronze wall-hanging sculptures with stone base

For more views of the marble sculpture “Back to Back,” please click here: 

http://www.borsheimarts.com/sculpture/2011/Back2BackMarbleCarving.htm

Tanti auguri di buon compleanno, Nori! 

Peace,

~ Kelly Borsheim, sculptor

http://BorsheimArts.com

Florence Accademia Lorenzo Bartolini

Dear Art Lover,

    

     Having lived for many years in Firenze, Italia (translated to Florence, Italy), I have passed many a time and admired the Demidoff Monument by sculptor Lorenzo Bartolini.  My favorite of the marble allegorical sculptures is a mother holding her sick or perhaps dead child across her lap, in a not unlike the famous Pietà pose by Michelangelo.

     My brother Steve was recently visiting me here in Italia for the first time and we traveled around quite a lot to give him a brief taste of this country.  Naturally, while in Firenze, we went to the Medici Chapel (my favorite place) and the Accademia. 

     Besides housing Michelangelo’s famous “David,” the Accademia also houses his marvelous unfinished slaves, many more paintings and then..the gesso museum… a true delight.  This is where many of the plaster sculptures used to create a copy or copies into marble (with a point-up system) are stored.  Many will still contain the little black dots on the surface of the plaster.  These mark the high points in an area of each sculpture and help in the roughing out of the stone, so as not to remove too much material from any given area. 

“Love, Vice, and Wisdom” by Bartolini

      Lorenzo Bartolini (Prato 1777 - Firenze 1850) is one of the artist with many sculptures here to admire.  One of my favorites is a composition of three children.  It is unusual in that it is mostly horizontal.  Sculptors often create vertical compositions that read well from a distance.  “L’Amore, Il Vizio e la Saggezza” (“Love, Vice, and Wisdom”) is dated as “before 1845,” five years at least before the artist died. The three children are arranged in overlapping reclining poses, a bit triangular on a round base.  It reminds me of Giambologna’s “Il Ratto delle Sabine” {“The Abduction of the Sabine Women”) in which the sculptor was seeking a perfect composition that enticed the viewer to walk around to see all sides.  [Note that the title of Giambologna’s composition was given by someone else AFTER the work was done, based on a popular theme in art at the time.]

     Shown here is the plaster model from which was carved the marble sculpture for the Metropolitan Museum.  I apologize that my images are not so clear nor show all the views.  My main camera died in my second fall where I reinjured my knee back in March.  Then this smaller camera I bought from a friend years ago and only used for backups died during my brother’s vacation.  My neighbors were probably relieved that I was not sporting a camera during our recent dinners together.  Another one has been ordered in anticipation of my first trip to Sicily soon.  Enjoy… and see the Accademia when in Firenze.  There is also a small set of rooms for the study of music.  They have many unique and/or antique musical instruments there, as well as a handful of research computers.

For more information on sculptor Lorenzo Bartolini, click here:

https://it.wikipedia.org/wiki/Lorenzo_Bartolini

http://www.scultura-italiana.com/Biografie/Bartolini.htm

http://www.uffizi.firenze.it/bartolini/

Peace,

Kelly

http://BorsheimArts.com

P.S.  Welcome Home, little Levi! 

“Love, Vice, and Wisdom” by Bartolini

Gesso Museo - Plaster Sculpture Museum-Accademia

Rodin in Roma

Cari Amici (Dear Friends),

During a recent trip to Roma, my painter friend and I visited the Rodin exhibit happening now.  Only white marbles by the French sculptor were on exhibit and it was interesting to see them all together in one long ancient room of brick.  The curator wanted to show something of the thought processes of the artist.  I appreciated the choices here and glad to see ONLY the stone.

It is a problem for me to refrain from touching sculpture, and sometimes even paintings.  Sure, I understand about keeping something treasured in a good condition for future generations (hey, with pollution these days, even keeping something lovely for OUR generation is a struggle); but I think that love should be expressed and some of the most beloved sculptures throughout the history of man have worn-down parts from too much touching or the rubbing of fans and believers.    

I think part of the solution is to have more people buy the art that moves them, so they may enjoy it as they wish.  As a creator, I am thrilled when collectors feel that the art makes a real difference in their lives.  More people living with beloved artworks also has the fringe benefit of keeping artists working.  [Perhaps part of the problem is that we artists are not inspiring many these days?   Thoughts, anyone?]

A strange feeling has been growing in me for many years now:  a reluctant admission that white marble is lovely, but cold when it comes to depicting human flesh.  It has a beautiful way of standing out in an outdoor environment and lending class to any situation.  However, we have so many colors of stone to choose from and I like this idea very much.  Also, I do not enjoy as much the solid white marble.  A little bit of natural veining lends some sort of authenticity to what the artist has accomplished in this living material – one knows that the works was not cast, afterall.  That said, I will be happy when my focus turns again to stone.  Right now, I am limited by the location of my current flat (in the city) and my lack of tools.  I am missing my former life in Texas a little, especially the ability to work outdoors surrounded by trees and privacy.

Ah, but I digress, as is my way too often… As for Rodin, I saw in Roma some carvings that I had never seen before.  I do not like all of Rodin’s work, and I think that is natural.  However, he pushed into the emotional and, specifically, the sensual realm of human expression.  For that alone, the world should be forever grateful.  I include here some of my better shots from the exhibition.  The lighting was soft over the white marble.

Exhibit runs now through 25 May 2014
“Rodin. Il marmo, la vita”
18 febbraio / 25 maggio 2014
Museo Nazionale Romano alle Terme di Diocleziano, Roma
[an easy walk from the Termini train station and Piazza della Repubblica]

Here is one page with more information and images (although the text is in Italian):

http://www.romeguide.it/mostre/rodinilmarmolavita/rodinilmarmolavita.html

Art Lover Writes to Artist

Cari Amici (Dear Friends),

I received some interesting feedback from a fan of my stone carvings and thought that I would share since I have been busy working and preparing for my trip to Spain soon. While I cannot answer everyone’s questions, I try to read everything that I can. It was kind of Mr. Francis McLaughlin to put some time into specific comments on each sculpture. You are also invited to comment on the blog, if you like. I recently gave the blog a slightly new look that I hope is easier on the eyes.

Thanks you and read on, if you like. He is referring to my original stone sculptures. If you click on the image title, you may then view the individual sculpture site page that includes more views of each artwork, as well as images of the stone during the carving process. Please inquire as to availability if you would like to take advantage of my LayAway Plan (as many have) or if you just want to add an artwork to your collection right away. The prices are all online on my pricelist page. Thank you.

Kelly Borsheim, artist

Dear Kelly,

You’re such a beauty; but just like flowers, all that’s sweet is transitory. Be tough on life; squeeze it, for what it is you really want. There must be some desire that is most important to you, maybe falling in love, or doing the greatest art, and in your case that would be a wow. You’re become famous enough to have a hundred demands on your time. You don't have to respond, I'm so grateful that you did, I'll watch your career with a sweet tear in my eye, and hope that your wonderful talent continues in a most fertile environment.

I took a quick half hour look at some of your things, I noted how thrilling they hit me.

Torso 8 (above) is sensational for me because I see such sensuality in motion with the turning figure.

Ascension Invitation: The attraction on mythology lies begging in our psyche, this piece stimulates that realm.

Gymnast: Sweet is always good, that feeling of sentimentality that lives near sweet works for most of us.

Back to Back: To get sensually involved tugs heavy on us.

Lips of Life: Great theme this could be done again and again for a long long time with an ever increasing joyful romance.

Zebra Lips: The impact of contrast and color alone, stun me in a fresh way.

Yin Yang: A wonderful porn piece that puts me where I like to go.

I’ve become pleasantly exhausted looking at your work. I’ll return when I recover, to see what more things you’ve done, that both thrill and inspire.

Most grateful thanks
Francis

New Marble Sculpture Gymnast

Cari Amici (Dear Friends),
I am still trying to get caught up after so much whirlwind these last several months. And I wanted to share with you a little bit of news, in anticipation of my next art newsletter. Here is the “Gymnast” marble carving that I have been writing about on my blog for a good part of 2011. She is currently on exhibit at Carved Stone in Dripping Springs, Texas. For more images, click here: http://www.borsheimarts.com/sculpture/2011/gymnast-marble.htm.

Because of a variety of questions that I have received, I recently rearranged the items on the right-side column of my blog. The “Search This Blog” feature is now much closer to the top (right over the “About Me” section) and I hope that will make it easier for you to find a topic of your choosing. You would have to visit the actual blog site (http://artbyborsheim.blogspot.com) to see this column. Also, in a shameless plug, if you are enjoying these posts and would like to support the time and effort I put into the photographs and the writing, you may donate in any amount you wish (People tend to give about $20 per donation) via a PayPal link in this column. In addition, I am an Amazon.com affiliate and you may indirectly support this blog as you shop there – but first, you must visit my blog online and scroll down to the “Search Amazon” window box. Then just start your shopping from my page! Thank you so much. http://artbyborsheim.blogspot.com

Lagniappe: How cool is this? Poet Claire Emba paired my pastel art "Songbird" with her poetry on her blog posting:
http://poetrybyemba.blogspot.com/2012/01/normal-0-microsoftinternetexplorer4.html

Details Stone Carving

Cari Amici (Dear Friends),

It is not all in the details, but the details can offer fun little bonuses. These images show the beginning of my carving marble shapes into the hair band on the ponytail of the “Gymnast.” This is another case of a seemingly open space to work in that is actually not: There is not really enough room for me to get in an electric rotary tool to carve the small spheres in the band at all the angles I would like to reach. The legs that point to the sky in her pike position get in the way. Still, I hope that the details will be worth the efforts.

Below, you are invited to come over to say hello, during my upcoming book signings. The first is in North Austin this Thursday, while the second is in South Austin this Saturday. The book “My Life as a Street Painter in Florence, Italy” is getting good reviews, including this one:

Says Mary Condon, Mayor of Florence, Texas, "I love your book. I can barely put it down to do my work. I would like to order two more . . . "

Book Signing – North Austin:

Thursday, 6 October 2011
6 - 8 p.m.

Book signing for "My Life as a Street Painter in Florence, Italy"
hosted by the Art Space and Austin Visual Arts Association (AVAA)
Austin Art Space
7739 Northcross Drive
Austin, Texas 78757
www.austinartspace.com

Book Signing – South Austin:

Saturday, 8 October 2011
4 - 6 p.m.

Book signing for "My Life as a Street Painter in Florence, Italy"
hosted by The Curioseum inside the Community Renaissance Market
Community Renaissance Market
6800 West Gate Boulevard
Austin, Texas 78745

Touching Stone

Cari Amici (Dear Friends),

One of the most difficult things to do in stone carving is to have two objects touch without making one too long or too short. While I have plenty of carving left to do on the base of my “Gymnast” marble sculpture, it is time to address how the hips of the figure will rest upon the turtle shell that holds her up.

Also, I have been working on many different parts of the figure - from hair to toes to her chest and neck and her hands. It is time to refine the shape of her hips as I figure out the connection to what is below. Categorically, my work falls somewhere between reality and abstraction. So, while I will not be creating an exact replica of the soft flesh of even the strongly developed gluts of an athlete as it is pressed over a hard form, I do want a great line for many viewpoints. I want the eye to move along, and I want the viewer’s hand to pass over the marble figure and feel a soft sensuality in the cool stone.


While I had planned last night to go into town for a late night concert of Indian music, I decided to stay home instead and photograph my crotch. That sounds like a lot more fun than it was. But after I got cleaned up and lost all of the day’s stone dust, I donned a pair of tights and tried to emulate the pose. This is part of the problem: I do not want this sculpture to look like me. However, when I am carving, it is actually my body that is the most available. I am happy that I have no neighbors nearby since I often tend to feel the shape of my own muscles and then draw what I felt onto the stone, adapting the anatomy to fit the work.

But my fingers are too thick to really “see” how the shape feels as the soft flesh folds over a bit of the hard tortoise shell. So, I needed either an interesting set of mirrors or some self-portraits. Hmmm. Scary. But this connection is very important. I asked John Borsheim, the mechanical engineer, to talk to me a bit about how much I could cut into the stone before it became so much like an hourglass that the sculpture would snap in two at that point if there is any stress while moving the stone carving. Better to err on the side of caution. This is also part of the reason for creating the turtles heads UP off of the bottom surface, while the legs will help create a circular base. More on that later . . .


I have not been happy with the hips, feeling that they are a bit large and malformed for a figure that size. I began to feel that the hips were getting too much vertical length and thus went back to my original measurement and cut off much stone. Measuring has always been a challenge to me. I am not sure what these images may tell you, but the hips will start to pull in more to give the pike position that noticeable “V” shape. In the last image (taken at dusk, hence the bluish cast), I can clearly see that I still must cut off some of that thigh as it gets closer to the torso. Anyway, I marked it in the near dark and will continue to shape the stone.


I am at the “dangerous” stage of my stone carving process with this marble sculpture. I say “dangerous” because I am almost to the point in which my mind can fully imagine the finished work. The problem is, the “Gymnast” is physically far from completed. At this stage, my mind becomes restless and my thoughts shift to thinking of the challenges I will have with the next stone. You can see the possible destructive nature of this situation, right?

The good news is that with all of my years of carving stone, I know full well that I will move beyond this step in due time and fall in love again with my current marble. I just hope there is enough time because she is the largest and most difficult carving I have yet attempted and I want to finish her desperately.

Working Stone Carver

Cari Amici (Dear Friends),

And the work by the stone carver progresses . . .

Welcome Home from Afghanistan, my brother Alex!

Happy Birthday, America.

Bug Spawning on Marble

Cari Amici (Dear Friends),

Yesterday morning, I set my stone carving tools on my work table, noticed the dew, and bent down to blow off a few small insects from the table, and then turned around to take a look at my marble sculpture, “Gymnast.” She was covered with tiny black insects! What a sight!


Was this because of our recent rain after a long drought? Or was this just some coincidental random insect spawning? Does anyone know what kind of bug this is? They are tiny creatures with wings, not little black ants as I first suspected (but then fire ants pretty much take care of those and I am stepping in their beds far more often than I find entertaining).


I found myself more curious about what kind of bug this was than disturbed and went into the house to get my camera. And the good thing about working on a fairly large sculpture is that I have plenty of other areas that need attention. So, I worked on the base yesterday morning. The insects were almost gone during my evening carving shift (I work indoors during the scorching middle of the day). They were completely gone this morning. Any clues, anyone?

Impatience with Stone Carving

Cari Amici (Dear Friends),

Hello again. If you have followed along much on these posts or my art newsletters, you may remember that I tend to work the whole piece of art “at once.” Not literally. What I really mean is that I try not to leave any part too far behind the development of the whole.

In my work on the marble “Gymnast” sculpture, it became time for me to remove some of the base. I know when it is time to remove some of the support when I can no longer envision carving away parts of the figure that I know must be removed because they start to look tiny in comparison to the part next to it. I wanted to shape her hips more, but the stone beneath her was just too overpowering. And also, as I worked the hips, I knew that I would want to start designing the way her hips connect with the shape I want to carve underneath them.


This first image shows the line on the left side of the marble base that I wish to cut off. Note that my wooden support and levelers are location outside of this mark. My first task is to move the supports inside of this line so that the stone will not fall over after I remove some of its bottom.

Since I want to keep the marble block that needs to get cut off, I need to take some extra care when splitting the stone. Normally, I would tip the sculpture on her side so that I could use my diamond blade to cut a “safety stop” into all sides before splitting. However, these days I am working alone without access to another human being when I want one. And if I tried to tip my heavy stone girl over alone, I would either hurt myself or hurt her. Neither is an acceptable option. Safety first.

Instead, I am trying to be patient as I drill deep holes into the stone on the three sides that I can access in order to guide the break once I am ready to make it. Some people think that the mere fact that I carve stone means that I am a patient person. That is a poor assumption. I think that we are all patient in some areas, and hardly at all in others.

My little neck of the woods, Cedar Creek, Texas, recently made the NBC national news for our unusually early drought situation. (The rest of the summer is bound to be another brutal one for our plants!) With the sun and heat we have now here, I have only been working a few hours in the mornings and again in the early evening before dusk on my marble. And not every day. And the drilling is going slowly.

I find myself getting impatient and wanting to just split the stone and hope that it breaks along the line I want. But, the only way that I have successfully convinced myself to settle down and do it right is to remind myself that the marble really will not care. No one (but you, I suppose) would actually know . . . and it would be up to me to redesign my intended sculpture. So, my impatience could cost me a lot of time. And the problem is totally avoidable. Finally, I am terrible company when I am angry with myself.


This second image was taken with my camera’s timer as I used the back end of the axe that I use to chop wood in the wintertime and a metal pipe to hammer the supports further into the stone. I scored the safety lines on the sides and began drilling holes after that. Thank you for following this journey… I wish you patience (when it is called for).

Fish Lips Stone Carving

Cari Amici (Dear Friends),

Today Italy celebrates 150th year since its unification. Funny, for a place that has seen so much history and change and influence from so many other cultures over the centuries. For your thinking pleasure, here is an interesting link someone posted on Facebook about Italy and its relationship to the rest of Europe. Happy birthday, Italia!

But long before I knew anything about la bella Italia, I knew that I was part Irish, from my Grandpa Mike’s side of the family. So, I would like to share with you today one of my GREEN sculptures!


"Fish Lips"
Green Marble (Canada)
one-of-a-kind
17" h x 6.5" w x 23.5" d
$4000

http://www.borsheimarts.com/sculpture/2006/fishlips.htm
This particular marble from Canada has a blue-green color overall. It is a very hard marble, but as you can see from the way I carved her, she has many, many layers. She is unusual because generally stones that have layers like this have one direction in which the pattern is in straight lines. To get curves, one carves perpendicular to these lines, pushing back into them to make concentric circles. This stone has no such property. She has lovely zig zags from all directions. It simply amazes me.



So once again, when the stone has a complicated personality, I carve a relatively simple shape. I have been making the "fishlips" expression since I was a child. I do not know why it is so much fun, especially for young children. Since the "Lips Series" tends to be a bit different from my representational style, I wanted to use it to do some exploration. I hope you enjoy this stone sculpture.

Fish Lips has been sealed, like all of my other stones, and is a hard marble. It should be fine to display either indoors or out.

Happy St. Patrick’s Day!