TREE OF LIFE SERIES - The Process
'GROWING A FOREST: FROM CLAY TO BRONZE'

The small and moderate sized TREE OF LIFE vessels begin with a solid, hand coiled form in clay. The clay coils (or strips) are added, one row at a time, carefully joining and smoothing each layer as the form very slowly evolves. When the vessel is complete in dimension, Carol paddles and scrapes the piece in preparation for the tedious carving process. As the carving slowly progresses, careful attention is given to the variance of the moisture content. The small, irregular openings (in contrast to large closed areas lower on the piece), create an optimum condition for uneven drying and subsequent cracking. This challenge requires a dance between carving several hours and wrapping the piece in a variety of moist materials for several hours - the attempt to constantly equalize the moisture content throughout the piece. Careful attention is given to light, balance, and rhythm as the form evolves. Smoothing and gently sanding the carved piece follows. Portions of select pieces are hand- burnished in a four- step process - often done when the piece is 'bone dry.' The pressure of burnishing on bone- dry clay requires an impeccably careful touch to prevent breakage.

With forming, scraping, carving, sanding, and burnishing complete, the clay piece is completely dried and fired in a kiln (Larger vessels are created using non-fired materials). A thick rubber type mold (protected and supported by a plaster 'mother mold') is made from the original vessel. This mold is then utilized over and over to produce wax castings of the piece. Each wax casting is then carefully cleaned and worked until the detail is as close as possible to the original piece. With the wax model complete, a sprue, or gating system is methodically attached to the wax. This system provides entry to the chamber from the pouring cup and enhances proper flow of the molten metal, reducing air bubbles, pockets, and running. The waxed model, with completed and attached sprue system is then invested - dipped repeatedly into a ceramic material to create a thick, fireproof encasement. Once dry, the invested piece is heated to melt the wax chamber (hence the term 'lost wax'), leaving a gap shaped precisely like the original piece of art. Molten bronze is then poured into the open chamber. After cooling the metal, the investment is broken away, exposing the raw bronze reproduction of the original piece. The sprue system is cut and removed and the bronze casting is then chased (welded, cleaned and assembled if necessary) to prepare and refine the surface. A patina (chemicals and sometimes dyes) is applied to the bronze and protected with a final coat of wax, sealer and/or lacquer.

With the mold and casting process complete, Carol then refines the surface of the original clay piece, treating it with a hand application of oxides, layers of non-fired oil and/or wax pigment finishes, or fires it in a primitive pit. On ocassion, the original is damaged in the molding or firing process.