Bruce Beasley Retrospective
Andrew Werby
I had a chance to see one of my sculpture heroes the other day, as Bruce
Beasley gave a talk about his life and work in conjunction with a major
retrospective exhibition at the Oakland Museum. His talk was low-key, and
very light on ArtSpeak. He spoke of his early breakthrough in 1960, when a
curator at New York's Museum of Modern Art put him into the groundbreaking
"Art of Assemblage" show along with giants of the art world like
Rauschenberg and Picasso, although he was still an undergraduate at Cal
Berkeley at the time. This work featured broken pieces of cast-iron sewer
pipes welded together into gravity-defying works, the fruit of a trip to a
scrap metal yard and a familiarity with metalworking due to an adolescent
fascination with hot-rod construction. From that point, he never looked
back, and managed, despite his initial expectations, to make a living from
sculpture from then on.
Leaving cast-iron rearrangements behind in a move that was to become
characteristic, once he felt he'd explored a mode of working to his
satisfaction ("professional suicide" is how he described it), he went on to
building objects from pieces of styrofoam packing material which he'd
bandsaw into shapes he found appealing, put together into assemblies, then
pack in sand and pour metal on (the "lost foam" method) to make solid metal
castings. There were quite a few examples of this kind of work, which I'd
never seen before, in the show. While I found them interesting, and
certainly reflective of the Abstract-Expressionist aesthetic prevalent at
the time, he soon grew tired of this whole vein of work and turned (as the
result, literally, of a dream) to the problems posed by transparency.
At the time, there were few materials that would allow the production of
transparent sculpture. Glass was a possibility, but he found that as it got
thicker, the transparent quality was reduced (think of a glass tabletop seen
from the edge). Also, glass is difficult to work with, and of course
fragile. The other transparent material used by sculptors at the time was
polyester resin, but this could only be cast in very thin sections, so it
wasn't able to produce the sort of inner reflections and refractions he
dreamed of. After some research, he found out about acrylic. It seemed ideal
for the purpose; it was durable and transparent even through the width of a
plate, it could be carved and polished, and it could be cast into molds. The
only problem was, that nobody could cast it any thicker than a couple of
inches. Any thicker than that, it would suddenly form bubbles and cracks,
and all the technical people at the manufacturers assured him that this was
an absolute limitation of the material.
Undaunted, Beasley threw himself into experimentation with acrylic resin,
and managed to extend the working range to about 4 inches thick. But no
matter what he did, it would self-destruct if he tried to go thicker. At
this point, he entered a competition for a large freestanding sculpture to
be installed at the California state capital in Sacramento, and presented a
model cast in acrylic, 4 inches thick. When he won the competition, he was
faced with a major problem. How was he going to be able to cast this thing,
which was supposed to be more than a foot thick, when everyone who knew
about acrylic casting said it couldn't be done? Beasley had a talk with
Dupont, and said that if they wanted him to call it a "Lucite" sculpture
(Dupont's brand name for cast acrylic) they'd have to give him some
support - otherwise it would have to be called "Plexiglas" (a Rohm and Haas
trademark for the same thing). Dupont came around, and delivered 50,000 lbs
of resin for free, so he could have something to experiment with. This
turned out to be an excellent investment for them. Working with glass molds
in a giant autoclave he'd constructed from a railroad tank car, he
perservered with his trial batches, trying to glimpse the moment of
polymerization (or catastrophe) in large volumes of catalyzing resin. When
he finally glimpsed it, suddenly everything fell into place, and he realized
that he could cast acrylic in any thickness he wanted. (I tried to pin him
down on what exactly he saw, but he had a hard time putting it into words I
could grasp. The central point, though, was that polymerization was neither
uniform nor simultaneous.) After completing the Sacramento commission to
great acclaim, he went on to create a series of works that explore the
aesthetic of transparency in a couple of ways; by making basically prismatic
forms with polished voids, and also by creating totally organic pieces where
light rolls and spreads unpredictably through the transparent volumes of his
water-like forms as one moves around them.
Having solved a major technical problem, Beasley was forced to decide what
to do with his discovery. He did spend a year applying his technique to the
production of bathysphere windows (these are the large clear bubble-shaped
front portions of the small manned submarines used for oceanic research,
which allowed an unprecedented clear view of the oceans' deeps.) He could
have gone on to head an industrial company dedicated to large-scale acrylic
casting, and incidentally to enjoy the personal wealth that would entail,
but he ultimately decided to remain a sculptor instead, since that's what he
really cared about doing with his life. He might have gone on creating
Lucite sculpture, an artistic niche he pretty much owned at that point, but
he eventually got bored with it, since he felt he'd adequately explored the
issues that made it interesting to him, while he was tired of acrylic's
inescapable limitations, such as weight per volume, which limits its
application to monumental-scale work. So, characteristically, he gave it up
and launched into developing yet another completely different technique and
style.
This latest phase of work, which he continues to explore, involves the
arrangement of relatively simple six-sided prismatic solids with
quadrilateral facets into soaring constructions ranging from table-top size
up to monumental scale. Beasley considers these admittedly nondescript forms
to be the words in his sculptural vocabulary, comparing them to a composer's
musical notes or a dancer's body movements. By arranging them in different
ways, he feels he can get a range of emotional effects which resonate with
viewers. As he isn't the sort of artist who visualizes a complete piece at
the outset, he likes to be able to try out different things until a
satisfying solution emerges. Initially, this involved a lot of cutting and
fitting, since building the interpenetrating forms he favors is difficult,
even for a sketch model in cardboard. But being the sort of artist who is
unafraid of technology, he became, in the 'eighties, one of the first
sculptors to involve the computer in his creative process. By working with
virtual shapes instead of real ones, he could make his mistakes with
electrons, (as he expressed it) not real material. The shapes could
intersect without a problem, and only after he's decided on a final
arrangement - "when it sings" - would the cutting templates be generated.
The process he described involves bringing forms together until he saw
something significant start to happen, then removing pieces that weren't
necessary to the effect he noticed. Inevitably, removing one piece too many
would cause the effect to collapse - then he would put it back, and consider
the composition complete.
He described the process he uses to make medium-sized pieces in cast bronze;
it involves printing out templates for each surface and cutting each piece
out of foam-core board with a matt knife. The pieces are assembled with hot
glue, and covered with a thin layer of wax, which allows for subtle textural
variations on the basically planar surfaces. These constructions are then
sent to a foundry to be cast directly, using the ceramic shell process. For
larger pieces, parts are cut in bronze plate or steel, and welded together
directly. Another group of work on display (some of my favorites, actually)
were executed in plywood, although he didn't elaborate on the process used
to figure out all the odd saw-cut angles necessary to make the joints work
out. While I'm not sure I necessarily feel the emotions Beasley is aiming at
evoking, these works have a satisfying sense of rhythm to them, a sense of
organic rightness - although they resemble crystal forms more than anything
living. (He claims to get inspiration from all sorts of natural objects,
such as the collection of animal skulls transported from his studio and
installed as part of the exhibit.) As well as the works in the show, the
Oakland museum also has some pieces of his from its permanent collection
displayed outdoors. And of course one can also see the major monument
"Vitality" he installed last year in the nearby Frank Ogawa Center - at 37
feet tall, it shows the scalabilty -and yes, vitality - of Beasley's latest
sculptural concepts.
The show runs for another week, closing on July 31, 2005. If you're in the
area and haven't seen it yet, it's definitely worth a visit.
Andrew Werby
Billy Hiebert
think it was well put together. I'm adding the sculptor's website for
those who would like to know more:
http://www.brucebeasley.com
--
Billy Hiebert
HIEBERT SCULPTURE WORKS
Small Part Injection Molding
http://www.hieberts.com
GaryR52
mention of his earlier use of lost foam casting, which I've been interested
in trying, myself. What I find astonishing is the lack of information about
this process on the web. You'll find mostly industrial manufacturers and
industrial foundries using it and I could find only two foundries
specializing in lost foam casting, and most are using it for such
utilitarian tasks as casting aluminum engine blocks. The thing that astounds
me most, though, is that most of these companies seem to think the process
is something new and revolutionary when it's actually been around for quite
some time. I recall first reading about it in 1982, in fact.
Gary
--
______________________________
"Things Remembered," my new CD!
http://www.cdbaby.com/cd/garyrea
"Andrew Werby" <and...@computersculpture.com> wrote in message
news:nemdnemg3_L...@comcast.com...
Henri
pretend abstract art?
Ha hahahaha,, well that's how I see it.
Henri
"GaryR52" <gar...@cox.net> wrote in message
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GaryR52
rather disrespectful to dismiss a man's entire career as nothing. Those of
us who do non-objective sculpture have usually done figurative work at some
time, also. Personally, I like to think those of us who have done so have
evolved beyond the phase of making nice, pretty little recognizable trinkets
for people who want safe, comforting and recognizable imagery that they can
understand without having to think about it much. But, that's my opinion.
Gary
--
______________________________
"Things Remembered," my new CD!
http://www.cdbaby.com/cd/garyrea
"Henri" <hank...@yahoo.com> wrote in message
news:5iZDe.1118$U%6....@fe05.lga...
Two and a Half
wondered whether some his exhibits could be seen in the UK as it would be
fascinating to see his work up close. On a personal note my personal
favourites are Anthony Caro and William Pye, but Beasley's work is
distinctive and balanced... really cool as you might say in the U.S.
Excellent... thanks
Craig
"Andrew Werby" <and...@computersculpture.com> wrote in message
news:nemdnemg3_L...@comcast.com...
Henri
However I think you can certainly portray a lot more imagery and meaning in
a figurative form, rather than an abstract form. Non figurative means
nothing, as opposed to say a sculpture of a black woman in chains with a
collar around her neck instantly conveys thought that is by no means pretty.
But besides, I like pretty things, there is enough ugly in the world
already.
Henri
"GaryR52" <gar...@cox.net> wrote in message
news:yn%De.6081$Zt.893@okepread05...
Jud Turner
one of Beasley's works from 2004: still uses his abstract cube shapes
and hard edges, but looks an awful lot like skyscrapers.
Most of my own work is more figurative than abstract, and it took me a
long time to appreciate abstract works. I've found that I like
abstract stuff that is slightly suggestive, therefore allowing your
imagination to play a more active role, compared to a piece with a high
degree of realism.
Interesting discussion though.
- Jud
www.judturner.com
Andrew Werby
> your mention of his earlier use of lost foam casting, which I've been
> interested in trying, myself. What I find astonishing is the lack of
> information about this process on the web. You'll find mostly industrial
> manufacturers and industrial foundries using it and I could find only two
> foundries specializing in lost foam casting, and most are using it for
> such utilitarian tasks as casting aluminum engine blocks. The thing that
> astounds me most, though, is that most of these companies seem to think
> the process is something new and revolutionary when it's actually been
> around for quite some time. I recall first reading about it in 1982, in
> fact.
>
> Gary
>
> --
> ______________________________
> "Things Remembered," my new CD!
> http://www.cdbaby.com/cd/garyrea
[By 1982, it seems Beasley had left it behind. The process he's using now,
with the foam-core board, is a variation on the original idea, which was to
bury a styrofoam pattern in loose sand and pour metal on it directly. The
foamcore, I believe, contains urethane foam, which is toxic when burned; I'm
not sure I'd like to be downwind of his foundry (although I am, come to
think of it...) There's a fair amount of info about lost foam casting on the
web, mostly from hobbyists; some of it's even useful. Here are a few links:
http://www.theworkshop.ca/casting/foamcasting/foamcasting.htm
http://www.ray-vin.com/frfoundry.htm
http://www.geocities.com/marcus_loignon/casting.html
http://www.thehermitsmachineshop.com/foam.html
http://www.granthams.com/Casting/
http://members.optushome.com.au/terrybrown/FirstLostEPS.html
http://www.mercurycastings.com/index.pl/lost_foam_with_pressure
[Some backyard foundry types report that a thin coating of drywall mud
(joint compound) helps with the surfaces, and against collapse of the part
when the metal is introduced.]
Andrew Werby
www.unitedartworks.com
>>
>>
>>
>>
>>
>>
>>
>>
>>
>
>
Andrew Werby
>I guess that's the rub between figurative and abstract art.
>
> However I think you can certainly portray a lot more imagery and meaning
> in a figurative form, rather than an abstract form. Non figurative means
> nothing, as opposed to say a sculpture of a black woman in chains with a
> collar around her neck instantly conveys thought that is by no means
> pretty.
>
> But besides, I like pretty things, there is enough ugly in the world
> already.
>
> Henri
[I'm not sure you're using the term "abstract" correctly here, Henri. It
refers to work that while not realistic, is still representing a real
object, with an attempt being made to idealize the form somewhat. It sounds
like you really mean "non-objective", which is something that is not trying
to represent anything in particular. And of course, there are many subjects
for representation besides figures. While it's certainly more difficult to
express emotions without relying on narrative content (as in your example)
I'm not convinced it's impossible. And I'd certainly dispute your statement
that "non-figurative means nothing", unless you're speaking strictly for
yourself.]
Andrew Werby
www.unitedartworks.com
GaryR52
> However I think you can certainly portray a lot more imagery and meaning
> in a figurative form, rather than an abstract form. Non figurative means
> nothing,
Yes, you can. But, that's not the point of non-objective art. By definition,
the artist isn't trying to portray anything. A non-objective sculpture is an
exercise in pure form and there are many, many forms besides the human
figure.
>
> But besides, I like pretty things, there is enough ugly in the world
> already.
Agreed on that, but I'd argue that non-objective sculpture can be just as
beautiful as figurative sculpture. Afterall, what is it that makes
figurative work beautiful? The human body, right? What is it about the human
form, though, that is beautiful? It's shape? That shape is composed of
dozens of discreet organic forms that, when combined, makes up the human
form. All things are composed of forms, whether organic or geometric.
Non-objective sculpture is all about exploring these forms for their own
sake. It is not an attempt to be narrative. To be frank, many figural pieces
are not narrative, either. Like non-objective sculpture, they are simply an
exploration of the human form, without any intended meaning or message. What
makes a figural work bear a message is its context. What is the figure doing
and why? Why a particular pose? Many figurative sculptors are, like
non-objective sculptors, simply celebrating the human form for its own sake,
without any attempt at all at a narrative context.
Gary
GaryR52
> with the foam-core board, is a variation on the original idea, which was
> to bury a styrofoam pattern in loose sand and pour metal on it directly.
> The foamcore, I believe, contains urethane foam, which is toxic when
> burned; I'm not sure I'd like to be downwind of his foundry (although I
> am, come to think of it...) There's a fair amount of info about lost foam
> casting on the web, mostly from hobbyists; some of it's even useful. Here
> are a few links:
>
> http://www.theworkshop.ca/casting/foamcasting/foamcasting.htm
>
> http://www.ray-vin.com/frfoundry.htm
>
> http://www.geocities.com/marcus_loignon/casting.html
>
> http://www.thehermitsmachineshop.com/foam.html
>
> http://www.granthams.com/Casting/
>
> http://members.optushome.com.au/terrybrown/FirstLostEPS.html
>
> http://www.mercurycastings.com/index.pl/lost_foam_with_pressure
>
> [Some backyard foundry types report that a thin coating of drywall mud
> (joint compound) helps with the surfaces, and against collapse of the part
> when the metal is introduced.]
>
> Andrew Werby
> www.unitedartworks.com
Thanks for the links, Andrew! Much appreciated.
Foamcore board, eh? Hmmm....I hadn't thought about that as a material, but
it would be the same as using sheet foam, anyway, just has a paper skin on
either side. I think foam core is actually more expensive than just plain
sheet foam, though, due to the added paper, and it's usually sold in art
supply stores, where the price is always higher. I'm looking into large size
blocks or sheets that can be laminated together to form large blocks, for
carving direct. Once carved, I have several options. I can either use it as
Beasley did, as a pattern for lost foam casting, or I can cover it with
fiberglass or some other shell material, such as Design Cast
(http://www.design-cast.com/index.php), or I can use it as a pattern for a
mold for plaster or resin castings.
Gary
GaryR52
> wondered whether some his exhibits could be seen in the UK as it would be
> fascinating to see his work up close. On a personal note my personal
> favourites are Anthony Caro and William Pye, but Beasley's work is
> distinctive and balanced... really cool as you might say in the U.S.
>
> Excellent... thanks
>
> Craig
Cool, indeed, Craig! I, also like Anthony Caro's work, but my favorites have
always been Henry Moore, Barbara Hepworth and Jean Arp. Oh, and an American
sculptor, Richard Erdman (http://www.richarderdman.com/html/)
Gary
Henri
else?news:opKdndhwReY...@comcast.com...
Henri
henri
"GaryR52" <gar...@cox.net> wrote in message
news:LocEe.6089$Zt.1242@okepread05...
Henri
I guess that's the rub between figurative and abstract art.
However I think you can certainly portray a lot more imagery and meaning in
a figurative form, rather than an abstract form. Non figurative means
nothing, as opposed to say a sculpture of a black woman in chains with a
collar around her neck instantly conveys thought that is by no means pretty.
But besides, I like pretty things, there is enough ugly in the world
already.
Henri
"GaryR52" <gar...@cox.net> wrote in message
news:yn%De.6081$Zt.893@okepread05...
GaryR52
>
> henri
Sorry, Henri, but the term "figurative" refers to the human figure. That IS
human form.
Gary
Gary Waller
> Thanks for the links, Andrew! Much appreciated.
>
> Foamcore board, eh? Hmmm....I hadn't thought about that as a material, but
> it would be the same as using sheet foam, anyway, just has a paper skin on
> either side. I think foam core is actually more expensive than just plain
> sheet foam, though, due to the added paper, and it's usually sold in art
> supply stores, where the price is always higher. I'm looking into large size
> blocks or sheets that can be laminated together to form large blocks, for
> carving direct. Once carved, I have several options. I can either use it as
> Beasley did, as a pattern for lost foam casting, or I can cover it with
> fiberglass or some other shell material, such as Design Cast
> (http://www.design-cast.com/index.php), or I can use it as a pattern for a
> mold for plaster or resin castings.
>
> Gary
>
>
I apologise on Designcast - I thought this was a poly coating - it is an
acrylic plaster, very similair to its much more well known brother
Forton MG - available from Ball Consulting. It is based on an earlier
UK patent called Jesmonite. I am very familiar with Forton type
applications.
Gary - with you stated interests so far - you should look into getting a
pallet of autoclaved aerated concrete blocks, maybe some of the special
tools from demandproducts.com. There are artists in Australia and
throughout Europe using AAC blocks as a carving medium. There also
should be a good market for someone who could combine sculpture and AAC
house building. It is a great, and fast growing system, but the
designers/builders are severely limited by the "Lego" syndrome - square
blocks making square structures. There are a number of exciting
possibilites opening up in the world of concrete - I am particularly
involved with thin shelled structures - here's a starting point
http://www.geocities.com/flyingconcrete/Other/links.htm I hope to be
working with Steve on a Mexico project. Another name and search for AAC
is Hebel Blocks by the way. The patent is based on the generation of CO2
bubble when aluminum powder reacts with lime - a conctrolled autoclave
environment ensure a monolithic cast. By the way - these lump of AAC are
like polystyrene 'billete' - they are massive carving block which are
then cut up like slices of bread
Henri
don't like Beasley's. It seems to fake and contrived.
"Andrew Werby" <and...@computersculpture.com> wrote in message
news:opKdndhwReY...@comcast.com...
GaryR52
> Animals.
>
> .............
> Figurative
> Of or portraying the (human or animal) figure. Figurative sculpture can be
> either realistic (in varying degrees...) or stylized. .............
>
>
> Webster
>
> Main Entry: fig暉斟a暗ive
> Pronunciation: 'fi-g(y)&-r&-tiv
> Function: adjective
> 1 a : representing by a figure or resemblance : EMBLEMATIC b : of or
> relating to representation of form or figure in art <figurative sculpture>
Yes, figurative sculpture can include animal forms, as well (humans are
animals, also, by the way), but, more often, in art the term is used to
refer to human form and animal sculpture is simply designated as either
animal or wildlife sculpture.
Gary
GaryR52
> I apologise on Designcast - I thought this was a poly coating - it is an
> acrylic plaster, very similair to its much more well known brother Forton
> MG - available from Ball Consulting. It is based on an earlier UK patent
> called Jesmonite. I am very familiar with Forton type applications.
No problem, Gary, and I apologize, also for my quick temper. I guess we just
got off on the wrong foot. :)
I've looked into Forton MG, also. Looks pretty versatile.
>
> Gary - with you stated interests so far - you should look into getting a
> pallet of autoclaved aerated concrete blocks, maybe some of the special
> tools from demandproducts.com. There are artists in Australia and
> throughout Europe using AAC blocks as a carving medium. There also should
> be a good market for someone who could combine sculpture and AAC house
> building. It is a great, and fast growing system, but the
> designers/builders are severely limited by the "Lego" syndrome - square
> blocks making square structures. There are a number of exciting
> possibilites opening up in the world of concrete - I am particularly
> involved with thin shelled structures - here's a starting point
> http://www.geocities.com/flyingconcrete/Other/links.htm I hope to be
> working with Steve on a Mexico project. Another name and search for AAC is
> Hebel Blocks by the way. The patent is based on the generation of CO2
> bubble when aluminum powder reacts with lime - a conctrolled autoclave
> environment ensure a monolithic cast. By the way - these lump of AAC are
> like polystyrene 'billete' - they are massive carving block which are then
> cut up like slices of bread
Thanks. I was just talking to someone about where I could find aerated
conrete blocks, over on the ISC message boards, recently. Great stuff. I've
found one supplier, called SafeCrete and they make fairly decent sized
blocks that are really cheap; only $5 or so each. A 48 block pallet is
something like $240, which is a bargain, as you could do 48 sculptures out
of that. Your description of the Hebel blocks reminds me of aluminum foam.
Pretty expensive stuff, but it has potential.
By the way, I was way off base in saying stone wasn't expressive enough. I
had only recently encountered the work of Richard Erdman and had confused
his work with an Australian metal sculptor I know from the ISC boards. I
later had a look at Erdman's site and found he's primarily a stone sculptor,
so, you were right, it can be a very expressive medium. I'm amazed at the
thin flowing forms he gets out of marble! Don't think I'm quite ready for
that, yet, but I'll give it a shot in aerated concrete blocks and plaster,
though (which would be a cheaper route than the carved foam, also).
One other thing about Erdman's forms, they are so much like the digital
sculptures I've done in 3DS MAX that a few of them are almost dead ringers
for my digital pieces, and I did them before ever seeing Erdman's work.
Eventually, I hope to use rapid prototyping to bring them into the third
dimension, but, for now, it's too expensive.
Gary
Andrew Werby
> Andrew, what "category" is your work?
[I've had trouble with that issue. Galleries tend to dedicate themselves to
a certain category of work, and mine never fits in...]
I like most of your stuff but just
> don't like Beasley's. It seems to fake and contrived.
[Thanks, I guess, but have you seen Beasley's pieces in 3 dimensions, or
just in pictures? Since it's sculpture that's meant to be seen from all
angles, you really have to experience it in the round - it comes to life as
you move around it.]
Andrew
Gary Waller
> One other thing about Erdman's forms, they are so much like the digital
> sculptures I've done in 3DS MAX that a few of them are almost dead ringers
> for my digital pieces, and I did them before ever seeing Erdman's work.
> Eventually, I hope to use rapid prototyping to bring them into the third
> dimension, but, for now, it's too expensive.
>
> Gary
>
>
I see no reason why a cad/cam cutter couldnt easily carve a big block of
AAC, the same way it would cut PU foam. As long as the undercuts were
not too demanding. We have had these debates before in this newsgroup. I
am old school - with the right saws (diamond chainsaw, portable
bandsaw), templates and Kutzall carbide bits - you could rough out the
piece much faster than doing all the coding, etc. But then if you
already have the code, its just paying machine time rental I guess.
That safecrete site is real interesting - I'll bet if you sent them some
sample carved signage (house signage) and architectural elements that
they would send work your way. This stuff is light enough to ship UPS,
and you could support it with a buy online website. Send free samples to
all the AAC showrooms. Its amazing how quickly this industry has grown
in the Southern U.S.
My only warning is that you are going to create a lot of dust. Soon as
you can afford it, get one of those PAPR respirators - like a little,
personal air conditioner for your face, next cheque get an Ipod to drown
out the noise - then its all just work, work, work!
I'll have to find that Australian website where the sculptor coated an
AAC carving with pigmented, high melting point wax, then buffed it all
out. Weatherproof and looked good.
GaryR52
> AAC, the same way it would cut PU foam. As long as the undercuts were not
> too demanding. We have had these debates before in this newsgroup. I am
> old school - with the right saws (diamond chainsaw, portable bandsaw),
> templates and Kutzall carbide bits - you could rough out the piece much
> faster than doing all the coding, etc. But then if you already have the
> code, its just paying machine time rental I guess.
Well, that's just it; these are pretty intricate forms that CNC probably
couldn't handle. I looked into SLS (selective laser sintering) instead, but,
even at very small sizes it gets pretty expensive. The main consideration is
the total volume of the piece, as it is measured as a solid volume and the
more volume, the higher the price.
>
> That safecrete site is real interesting - I'll bet if you sent them some
> sample carved signage (house signage) and architectural elements that they
> would send work your way. This stuff is light enough to ship UPS, and you
> could support it with a buy online website. Send free samples to all the
> AAC showrooms. Its amazing how quickly this industry has grown in the
> Southern U.S.
Yep, maybe so, though that's not really my thing. I do architectural CAD for
a living and, though I've done some digital sculpture in other software on
my own time, it has nothing to do with architecture. Really, I just need to
find a supplier of aerated concrete blocks for "real" (i.e., tangible)
sculpture. So far, it looks like SafeCrete is it.
>
> My only warning is that you are going to create a lot of dust. Soon as you
> can afford it, get one of those PAPR respirators - like a little, personal
> air conditioner for your face, next cheque get an Ipod to drown out the
> noise - then its all just work, work, work!
Right. I'm anticipating that and not only will I wear a respirator, but
goggles, as well, to keep the dust out of my eyes. My garage is my studio
and I can open the doors most of the time, for flow-through ventilation. How
about those things I see on TV, that you wear around your neck to keep cool?
I think it operates silently.
>
> I'll have to find that Australian website where the sculptor coated an AAC
> carving with pigmented, high melting point wax, then buffed it all out.
> Weatherproof and looked good.
Yes, I'd like to see that, also.
Gary