|
|
|
||||||||
| Mary Lou Alberetti '64 demonstrated the various stages of constructing a figurative sculpture with textured slabs of various colored clays at the Meeting house in Newtown. Clay is kept soft by covering with wet towels until ready to use. At right is an earlier piece. this
figure has been glazed
|
 |
Each piece begins with a slab of clay. |
The clay is rolled out to 1/4" thick and
strips are torn off and placed on the base to build up the figure. |
|
|
Mary Lou explains that she creates the texture in the clay by rolling it with rice, sawdust or barley added to the outside. She added that to keep the rice from rotting while the artwork dries, it can be toasted in a frying pan first.  Using a lot of texture in her work, Mary Lou says that you see the form and then the texture. |
Mary Lou answers questions while she is
working. She adds that her daughter is working for Martha Stewart
Living and that they are always looking for new designs. Mary Lou was
asked to submit a ceramic design for a set of dishes. She used ferns
for a decorative piece that is now being evaluated.  |
 As the figure gets taller, more coils are added for support. For this project a couple of flying buttresses were also used for even more support. |
 Mary Lou continues to add strips of clay. Before placing the strips she uses a brush on the clay, adding a wetting agent made with water and sodium silicate to soften it. |
 She also shapes the piece before it dries. Using many colors keeps the piece interesting. she will also add colored glazes and on this will use a porcelanous slip with crimson stain. When glaze is added, the result will be a flesh tone. |
 Adding small indentations and pushing out where necessary to create the form. |
 Mary Lou explains that she likes to show a sense of process in her work, capture a rhythm and the feeling of organic growth so all of her work is textural. |
 |
 Mary Lou keeps the tools she will need while creating the form lined up on the table. |
 |
 |
 Mary Lou steps back to look at the form. She explains that it is best to check from all angles throughout the project, checking from a distance to see form from other perspectives. |
 A closer look is always available to the audience. |
 The tape is added because the clay needs to harden. She laughed and said she might call it "Bound". The project will be finished in Mary Lou's studio and a final picture will be added to this site when it is available. She explained that a piece can be force dried with a heater or can be stuffed with foam if hollow. The foam tubes used in a pool are great support for arms and legs. Clay can be softened faster by using a little vinegar. This piece will be bisque fired at 1850 degrees, a slow fire after it is stained and glazed. With a piece this size the artist has to work slow. The final piece will use approximately 35 pounds of wet clay |
 Jean Mann, a sculptress from New Fairfield, discusses procedures and processes used in various forms. |
|
The construction is complete and it is
drying and ready for the first (or bisque) firing. |
A second view of the finished piece. |
A close-up of the back of the earlier piece. |
|
