The Artistic Process

Ginny Walden carving "Diana" from the Goddess Series in black steatite. The process of carving takes patience and precision and an ability to "see" the complete work within the stone.

nobody@smugmug.com (ginnysart) — Thu, 17 Nov 2005 17:58:53 -0800

ginnysart
Ginny Walden carving "Diana" from the Goddess Series in black steatite. The process of carving takes patience and precision and an ability to "see" the complete work within the stone.

2. Goddess Series: "Diana, the Athlete" steatite $5900.(SOLD) Here is the finished piece started in previous photo.

nobody@smugmug.com (ginnysart) — Wed, 28 Dec 2005 00:08:09 -0800

ginnysart
2. Goddess Series: "Diana, the Athlete" steatite $5900.(SOLD) Here is the finished piece started in previous photo.

No1-4: START!I start with the head position, since this determines the body position. Then I use the claw chisel and mallet to block out the figure. The lines made by the chisel help me see ...

nobody@smugmug.com (ginnysart) — Tue, 27 Dec 2005 22:35:48 -0800

ginnysart
No1-4: START!I start with the head position, since this determines the body position. Then I use the claw chisel and mallet to block out the figure. The lines made by the chisel help me see ...

No.5-8: Here I use a half round rasp to file off the chisel lines and smooth and shape the body. Notice in 5 and 6: how I made the hands large and still attached to the stone before I cut th ...

nobody@smugmug.com (ginnysart) — Tue, 27 Dec 2005 22:35:49 -0800

ginnysart
No.5-8: Here I use a half round rasp to file off the chisel lines and smooth and shape the body. Notice in 5 and 6: how I made the hands large and still attached to the stone before I cut th ...

No.9-12: Here I am using various rifflers to shape the individual limbs and gestures of the figure. I am opening up the spaces under and around the arms and refining the thighs.

nobody@smugmug.com (ginnysart) — Tue, 27 Dec 2005 22:35:50 -0800

ginnysart
No.9-12: Here I am using various rifflers to shape the individual limbs and gestures of the figure. I am opening up the spaces under and around the arms and refining the thighs.

No.13-15:Next, refining the legs and finding their correct proportions with the arms. Notice the line deepening between the thighs to define the form.

nobody@smugmug.com (ginnysart) — Tue, 27 Dec 2005 22:35:51 -0800

ginnysart
No.13-15:Next, refining the legs and finding their correct proportions with the arms. Notice the line deepening between the thighs to define the form.

No.16-19: Now I am making major decisions about how far in the waist goes to ceate more space. Space is as important as solid form in sculpture. It creates energy,interest and an experience ...

nobody@smugmug.com (ginnysart) — Tue, 27 Dec 2005 22:35:51 -0800

ginnysart
No.16-19: Now I am making major decisions about how far in the waist goes to ceate more space. Space is as important as solid form in sculpture. It creates energy,interest and an experience ...

No.20-23: Now I refine the whole figure and add a line down the back to add strength and interest. I carve as far as I can between the thighs. This deep line adds shadow and mystery.I create ...

nobody@smugmug.com (ginnysart) — Tue, 27 Dec 2005 22:35:52 -0800

ginnysart
No.20-23: Now I refine the whole figure and add a line down the back to add strength and interest. I carve as far as I can between the thighs. This deep line adds shadow and mystery.I create ...

No.24-26: Notice how the space between the hands creates tension and interest. The alabaster ball is translucent and represents our spirtual being as Light.The gesture of the palms is prote ...

nobody@smugmug.com (ginnysart) — Tue, 27 Dec 2005 22:35:53 -0800

ginnysart
No.24-26: Notice how the space between the hands creates tension and interest. The alabaster ball is translucent and represents our spirtual being as Light.The gesture of the palms is prote ...

No.27-28: Now I define the spine and crack in the buttocks. I see them as a line.This brings the eye up along the back to the head. Then I define the feet. The lines in the toes also create ...

nobody@smugmug.com (ginnysart) — Tue, 27 Dec 2005 22:35:53 -0800

ginnysart
No.27-28: Now I define the spine and crack in the buttocks. I see them as a line.This brings the eye up along the back to the head. Then I define the feet. The lines in the toes also create ...

No.29-30: Now the ball of Light is in place and the sculpture is totally carved.I have sanded the stone smooth by hand with wet and dry sandpaper and water. Notice now the wet stone turns ve ...

nobody@smugmug.com (ginnysart) — Tue, 27 Dec 2005 22:35:54 -0800

ginnysart
No.29-30: Now the ball of Light is in place and the sculpture is totally carved.I have sanded the stone smooth by hand with wet and dry sandpaper and water. Notice now the wet stone turns ve ...

No.31-32: I finish the piece by applying a liquid stone polish. I do not usually put a shiny protective acrylic coat, but the collector who commissioned this piece requested it. I prefer a ...

nobody@smugmug.com (ginnysart) — Tue, 27 Dec 2005 22:35:55 -0800

ginnysart
No.31-32: I finish the piece by applying a liquid stone polish. I do not usually put a shiny protective acrylic coat, but the collector who commissioned this piece requested it. I prefer a ...