supported by: KOHLER Arts/Industry Program | special thanks: Kristin Plucar, Garrett Krueger, Robert Halfmann, Mark Crawford, Sophie Heyen-Dubé
Mold-making and casting, a Bronze Age metalworking technique, emerged in my most recent industrial artist residency as a revelatory new language in my process. There also, slag, a foundry byproduct, emerged as an unlikely medium for conveying timelessness. Not only does slag share certain physical characteristics with such geologically timeless objects as earth-origin volcanic rocks and celestial-origin meteorites, even one-day-old slag fragments resonate with Etruscan, Egyptian or other archaeological slag.
Early in casting brass and iron alloys at the factory I realized that how molten metal was poured into the mold significantly affected the resultant metal surface’s color, tone, and texture. This was especially prominent with brass castings of delicate ice crystal configurations. In Pentimenti: STRATA series, partly controlling the hand-pouring rhythm and speed, I crystallized the flow of molten metal into an almost two-dimensional work where the surface manifests a forged geological strata-like formation.