Mining Museum Exhibit I is almost complete: I have attached and tidied up the interior. The main scene is all in place. Now I will make some decisions about the top “mine shaft”, possible lighting, and I will touch up the black paint of the case.
This is a fairly dark piece, as is appropriate for mining, but adding built in lighting is tricky. It can be distracting, or just may not add much. I like the glass piece on top, but I might just install a flat pane of acrylic over the “shaft”. TBD!
An arrangement that may become more permanent:
I don’t know where this new variant cast draped worker will alight, but I really like him. He is not quite so sharply white (and clear) seen in “real life”, but a little bit softer. I rubbed just a touch of iridescent / pearlescent pigment on the mold in the draped clothing area. I left the figure’s head, hands, and feet clear, and I like the result. When I make “replicas” using molds, I make each casting a bit different, to avoid boredom!
Rubbing pigment into the silicone mold instead of tinting the resin lets me color specific areas, and retain a bit of translucency if I am careful. The pigment is still securely embedded in the resin, and will not rub off.
I have already forgotten how I acquired these lovely rusted old square nails: probably from a found drawer, or other piece of furniture. I will spray a clear coat sealer to protect this perfect finish!
This work depicts an enchanted forest, softly lit and safely contained. There is no risk or danger in enjoying evening fall in these woods, with a sunset soft sky. When this work is lit with the installed LED rice lights, the woods are suffused by a diffused glow and mysterious soft lights that you can imagine moving through the trees. A benign forest spirit lives in these woods, and a gentle green hued full moon rises above the trees.
This has been a difficult piece! I arranged, re-arranged, and changed almost everything in this work several times. At one point, trying to fix damage to the background, I had way too many “clouds”. It was a mess. The clouds did not add anything, and three resin trees made the scene too cluttered. I have also had difficulty choosing from several “spirit” face candidates; I even toyed with using more than one, but no!
The final piece will have only two of four possible resin trees, and I have settled on using one smaller “spirit” face. I have replaced the damaged background (twice!) so I don’t need any clouds, but I may use an arched tinted bit of resin that rather evokes a rainbow.
Now I am anchoring the pieces and I should be ready to pour resin later today!
The implementation has been very tricky. I have the lighting and the structure mostly resolved now. I still need to pour a coat of resin, add a few delicate pieces, and to anchor the lights. The lights will be resolved last, from access at the back. The gradient background is archival inkjet printed on paper, so is very delicate. It is so easy to scratch it or otherwise damage it; it must be installed very carefully. And I changed my mind about the color, switching from a green to blue, to the pink sky. I have struggled with light bleeding through the edges, keeping the acrylic & paper flat, etc. So I have replaced this paper several times. I removed the paper & medium it from the acrylic each time, because I will not discard or buy new unless I must!
