NEW FAZE DEVELOPMENT
ART PROJECT BY THE DOIRON GALLERY
“JOURNEY”
Wall Sculpture Created by
Kanika
Anne Bradley
Chris Kubi
Completed May 2006
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In October 2005, Ms. Sharon Wright, New Faze Development Marketing Director (
met with Joyce Doiron, Doiron Gallery owner, and artists Chris Kubi, Anne Bradley, and Kanika Marshall. Her rallying cry was: “
These blank walls need to be filled with art! And over the stairwell was to be a collaborative sculpture marrying the different artistic styles of the three artists.
The first step in creating the collaborative piece was to find out about Mr. Allen Warren, owner of New Faze Development,
in order to get ideas for the spirit of the project. Kanika discussed her research with the group.
In early November 2005, the artists met at Chris Kubi's wonderful outdoor studio
in
and Chris and Anne’s metal discs and rods, to get an idea of the desired colors and shapes for the project.
Kanika made several new ceramic tiles using her painterly technique with earthy colors.
The artists rummaged through Chris and Anne’s “stuff” to find the perfect metal
and raku clay pieces to achieve an architectural, yet organic look:
* * *
The first layout was achieved.
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ENAMELING METAL:
Kanika and Anne remove the rust so an enamel may be burned onto the surface.
Anne pours the glass/enamel powder on the metal.
A blow torch is applied to melt the glass crystals onto the metal.
Kanika uses tin snips to cut sheets of metal into more useable sizes.
The metal grid for one of the “arms” is pounded flat.
Anne uses a blow torch on a piece of copper sheeting.
Wonderful colors are achieved by superheating the metal.
* * *
Taking a photo_op break.
The second layout for the vertical piece is achieved.
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Superheated copper turns colors
Chris drills through the metal “arm” into the colored copper sheeting below.
Kanika applies rivets to hold the copper in place.
* * *
Anne and Chris weld metal side bars to the grid for the vertical piece.
Kanika takes a try at welding too.
* * *
The weld is complete.
An angle iron is used to buff the top surface of the metal grids to impart
an interesting pattern on the metal that is highlighted in bright sunlight.
* * *
Chris’ husband, Vincent, views the creative process.
And so does Cleo!
* * *
Once the tiles and metal are laid out, it’s time to draw a line on the wood around the
perimeter of the piece. All pieces are carefully numbered, then removed from the piece.
Then a skill_saw is used to cut a beveled edge around the perimeter until the wood cutout is complete.
The tile and metal pieces are placed back on top of the cutout.
* * *
Some pieces are drilled then screwed down onto the wood.
More grinding with the angle iron and buffing with sandpaper is done to remove
the rust that accumulated over the days the sculpture was outside in the elements.
Levels were used to ensure the vertical piece was straight and balanced.
* * *
The metal trough was screwed into sheets of metal and into the wood underneath.
Decorative tiles were inserted in the metal trough.
* * *
More measuring and leveling.
Kanika files down rough tile edges until smooth.
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RAKU:
Chris’ expertise is in the area of raku: an ancient Japanese method of quickly firing ceramic pieces
and depositing them into organic material that causes exciting metallic and/or crackle finishes.
This is a very dangerous process and requires protective covering and other safety precautions to be taken.
Here, Anne and Chris begin removing the fire brick making up the front face of the raku kiln so clay pieces may be inserted inside.
Then it’s time to turn on the gas to start heating the inside of the kiln to about 1,800 degrees.
Color glaze is painted on the once_fired “bisque” clay slabs and various oxides and other
chemicals sprinkled over the tops of the pieces to make the brilliant raku effects.
A few glazed ceramic pieces are placed onto the kiln shelf, then another shelf is placed on stilts a few inches above the first shelf.
More ceramic pieces are stacked on the second shelf, and so forth, until the kiln is full.
Long wooden boards are soaked in water so they do not burst into flame when
they are inserted into the searing kiln to remove the orange_hot shelves.
Protective gear is donned to ensure the artists do not catch on fire!
They won’t be winning beauty contests in this get_up, but they will be reasonably safe.
After an hour or so in the hot kiln, Chris begins removing the fire brick to see what’s inside.
Carefully, with special tongs, Chris removes each orange-hot piece and places it face down in a
pile of dry leaves. A small flame surrounds the very hot piece and the fire and smoke interact
with the chemicals to produce to desired raku look.
Anne removes the hot shelves using the dampened wood slats and places them on a metal surface to cool.
It takes many trips removing raku pieces then shelves until the kiln is empty,
then the gas is turned off so the kiln can be reloaded and the process started all over again.
After the raku pieces have cooled on the leaves, a spray of water helps remove surface ashes.
Fascinating metallic colors appear where the glaze or oxides were placed; otherwise, the unglazed clay turns solid black.
* * *
TEACH THEM TO FISH:
The old adage “don’t just give them fish, teach them how to fish.” The freestanding tile piece is reminiscent to a fish,
sometimes swimming upstream, sometimes effortlessly, sometimes with difficulty. It is strong, not afraid to show its bold colors.
It is not afraid to go where no other has gone. It is guided by its red directional “eye” finder. The long tail whips back
and forth to power it wherever it wants to go, and it also serves as a rudder to keep it on course. The center circles provide balance and depth.
Kanika adds metal sheeting under the tail portion to enhance the
feeling of turbulent water under the shiny protective scales.
The perimeter outline of the “fish” is drawn, wood cut, then tiles glued on the wood cutout.
Anne sheaths the inner circle with metal.
* * *
Starting to lay out the arms and fish.
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Adding more detail pieces to the vertical structure.
Yes, those are lovely Christmas lights in the trees watching Kanika as she glues down the pieces.
It’s time to glue everything down on the vertical sculpture.
* * *
Chris had hung all of the parts on large walls in her studio so the artists could easily manipulate the pieces in
a variety of configurations. This is how the sculpture looked 30 minutes before the installation on
Packaging up the pieces in the artists’ vans.
THE INSTALLATION:
Manipulating the 12’ ladder on the staircase was difficult.
Anne, Chris, and Kanika are very happy to be getting started on the installation.
The wall stud is found and wall marked where the hanger will be drilled and placed.
Ensuring the vertical piece is level. Surprisingly, this heaviest piece was the easiest to install.
Now comes the dangerous part. The 12’ ladder had to be straddled from the top of the stairs to the side wall to
allow the artists to use the “cat walk” to install the remaining pieces over the stairs.
If we were afraid of heights before this experience, we were not afterward!
After a couple of hours readjusting the parts, our muscles were tired lifting those heavy
pieces over the catwalk, but we were happy to be nearly done.
Joyce Doiron and Sharon Wright enjoy the completion of the sculpture installation.
* * *
Chris, Anne, and helper friend, Michael, look at the sculpture with immeasurable satisfaction.
The warmth of the golden walls and soft lighting enhanced the colors and spirit of the sculpture.
Yes, it is a strong sculpture. Yes, it is massive. But our task was to create a show-stopping
work of art that describes the important journey Mr. Warren has taken in his professional career and personal life.
So the piece has to be strong.
It has to be focused (hence, the directional “arms”).
It has to have an architectural feeling (hence, the rigid metals and wood and angles in the tile).
It has to intimate community (hence, the fish which represents sharing the wealth and helping others).
It has to show family (hence, the two arms for his kids, the nurturing center tile piece for his wife and mother, and the vertical piece representing Mr. Warren).
It has to show beauty (hence, the gorgeous colors of the tile).
It has to be classy.
It has to be spiritual.
It has to show fire and drive.
It has to be comprised of many different materials that work together to make a successful whole.
It has to soar.
It has to be balanced (hence, the circular pieces).
It has to show life (hence, the red spiral hiding near the top of the stairs).
It has to make the viewer say “Ahhh.”
It has to be awesome . . . like its owner.
The Doiron Gallery and artists Anne Bradley, Kanika Marshall, and Chris Kubi have enjoyed creating this work
for New Faze Development, as well as providing artwork for many of their once_blank walls.
Digital pictures and this presentation were dedicated to the project by Kanika Marshall.