Clachtoll broch proposed iron piece

Finally I got a weather window to start work on the second piece of my residency.

We got a tent erected near to the broch, in the lee of the stones from the rockfall in the broch that the restoration project removed in season one. It was surprisingly easy to heave the stone lintel into the tent on Day 1 and surprisingly uncomfortable working in and out the tent. A lot of climbing in and out bent double and kneeling on uneven rocks was involved over the week. Some days were sunny and some grey and cold, nearly all were windy, with the wind battering the tent onto you as you worked.

So the process was:- firstly brush the bits off, then a layer of oil, which with hindsight was a bad idea; followed by a thin mix of silicon to pick up the details – because of the low temperatures and maybe insufficient mixing of the catalyst this seemed determined to follow gravity onto the groundsheet. However there was no choice but to continue, this time with a silicon layer with thickener. By then it was time to call it an end to Day 2. Although there were plans to return that night it was Day 3 that was spent putting on the third and final silicon layer with thickener. There was now a mighty fine silicon mould, but no way of knowing whether layer 1 had worked out.

Day 4 was onto the plaster and jute mother mould. I had a long and supportive conversation with the super helpful guy from Special Plasters before starting out. The first layer again seemed determined to make a mould of the ground sheet, but then we discovered that it was going off in the plaster puddles and this mix was perfect for the jute layers. I was paranoid that I’d make a plaster mould that couldn’t be removed, or carried out over the beach cobbles, so I designed a 6 part mould. I made little clay walls for each section and we filled them with three layers of plaster soaked jute with support straps.

When I removed the clay wall on each piece I oiled the surface and designed a wedge to ease the separation of the sections. After the third section there was a mishap with the scales and we swapped for a different set. This seemed to hugely improve the consistency of the plaster from there on; and the job speeded up because there was no need to wait for the pools on the groundsheet to go off. The number of sections meant that the work went on into Day 5.

However the plaster mould came off in sections as planned. Then the moment of truth, would the silicon mould have laminated, would the first layer have been successful? It was an anti climax, but a very welcome one, when it just lifted off and there it was, the first phase of a long process successfully completed. Perseverance paid off and I came away with a silicon mould that nestles in a plaster mother-mould.

Clachtoll Broch residency

I went back to Assynt for a week in May; and the weather was kind, so lots of work was done.

With the invaluable help of Nigel Goldie, we got the Community Bronzes installed in the bedrock around the Clachtoll broch. A lot of lugging in and out of generators, drills, glue and the bronzes themselves was involved. I had agreed which rocks were outside the historic area, but on land where we had permission, and Nigel did the drilling and glueing.

I’m hoping that they will weather and patinate over the years, I started the patination process with sea water and beeswax resist. They are mainly on the Stoer approach, but there are a few on the Clachtoll side. So if you are on the site do try and find all forty four of them.

The main group of thirty-five include all the ones designed and carved in beeswax by the Clachtoll school pupils at a workshop in the Glen Canisp art studio. They also did pewter casting in sand, the same process as Iron Age casters would have used, and which I used for these bronzes (although in updated materials). Please refer to earlier posts for more on the bronzes.

Thirty five is the estimated size of the extended family group who lived in the broch at any one time. The design choices reflect the range of ages and interests of the people involved, a local community working together.

Can you find the bone comb? Maybe a plan of the broch? A panda or a Pod?

It’s a great collection of designs and styles and I hope it’ll give visitors to the broch pleasure, stimulate ideas and trigger narratives; celebrating the local community and the people who have been involved in the broch project.

Perhaps some people will think of the metalwork and how the broch residents will have traded for cast bronze products, even if they didn’t smelt and cast bronze themselves.

Work in progress

I’ve started test pieces for the glass poppy petals that I want for a commissioned piece commemorating Dunkirk.

Keny Drew at East Neuk Glass let me try out some different moulds, colours of glass and different glass thicknesses.

I now need to try thinner glass and make my own irregular moulds because these are too chunky and symmetrical; but the process has started and thinner glass will be easier to cut.

Thanks Keny

 

sea drift necklace v

julia cowie

This silver frame-ring, Sea-drift necklace has a blue, lapis lazuli drop, a solid silver heart and a witch stone. The belcher chain and the ring and bar fastening are also silver. The reverse of the frame ring is textured using a beach stone and the necklace can be worn  either way.

sea drift iv

julia cowie

This penultimate necklace in the sea-drift ring series (for now at least) has a brass, domed, corroded washer from the beach in Cellardyke, a hollow silver bead and silver charm. It has a silver belcher chain, silver frame-ring which is textured using a stone from the beach and my ring and bar fastening.

Sea drift necklace iii

julia cowie

This silver necklace has a lapis drop, the Forth dolphin and a silver heart all handing from a silver-frame ring. The chain is a silver belcher chain and the clasp is my own bar and ring fastening so it is easy to wear.

Sea drift necklace II

The sea didn’t bring me the witch stone direct, it’s from a beach in New Zealand; the glass bead is from Czech Republic and the dolphin charm is obviously a Firth of Forth dolphin. Just putting together some individual pieces for ENOS 2019 which are sort-of sustainable as I’m not buying new stuff.

Sea-drift

I finished this piece on Sunday. It is part of a bone counter with a little tab from an old necklace and a hammered silver ring.

I also took a photo of the rising moon as I probably wouldn’t wake up for the eclipse.

Seaweed necklaces

This year I’m making jewellery for Open Studios and Pittenweem Arts Festival using what I think I’ll call ‘sea-drift’. The seaweed on which the design is based was storm-cast on the beach.  These ‘mermaid’ necklaces are saw pierced silver, hammered and formed. Two have moonstone drops and are oxidised, I have sent these to VAS ALIGHT 2019 in Edinburgh.

Iron Age bronze working

We had such fun at the final public event for the Clachtoll Broch project.

Uist Corrigan (who is now at Edinburgh College of Art) joined me and some local folk and volunteer archaeologists. (That’s Uist keeping an eye on the furnace)

We had the bellows from SSW and built the furnace using local clay, sand and horse dung.

We had some local charcoal courtesy of Chris (although most of it came from the Chinese wholesalers in Dundee). Heather Fulton took loads of photos, some of which I’m using here.

We started before dusk and did the final copper smelt of the project.

Just about everyone helped with the bellows, it’s not so easy, but it’s sociable, thanks all who joined in.

We cast the two community bronzes which were lost wax cast.

This is burning out the wax.

Pouring the bronze and, below checking out the crucible for the next pour.

One of the bronzes was a bear foot print, designed by Bill.

I had spent the previous week preparing the waxes, adding runners and risers and then  dipping them in a clay slurry mix to build up layers of mould which was then finished by enclosing in a cob clay with a pouring funnel.

We kept the furnace going (and the bellow workers) to pour the last bronzes – One closed oil sand 2-part mould, an open sand box with local sand and clay mix; and a closed 2-part mould (although we ran out of bronze in the end)

Most people went up to hear Gordon’s talk, but I’d promised Mandy Haggith that we’d try a copper alloy. So we switched to the hand blower to melt the copper, including from the local smelting, and added some tin grain to get a very local bronze alloy.

The open sand mould was Roz’s bird over waves design; and the closed one Stuart’s panda:-

The next morning I said goodbye to the Art Studio for 2018 and headed back to my studio to finish the final bronzes.

My thanks to everyone for making the Clachtoll broch art project such good fun.