Fine art tips with Free Sculpture Lesson with Patrick Owen Wilson on Colour In Your Life


G’Day folks Graeme here from Colour In Your Life Hope you are enjoying the series, well as you see every week we bring you some fantastic master artists Now I have spoken to all of all of the artists we have filmed and each week we will be bringing you our weekly special on one of our artists work You can only get these incredible pieces of art through the Colour In Your Life Series through our gallery and shop at our website colourinyourlife.com.au or phone now to get this fantastic deal on this beautiful piece of art on screen now This is a great way to put some Colour In Your Life G’day viewers, my name is Graeme
Stevenson and I’d like to invite you to come on a journey of creativity
and learning and adventure through the series Colour In Your Life. There’s an Artist in every family
throughout the world and lots of times there’s an Artist deep
down inside all of us as well. So grab your kids, your brothers,
your sisters, your aunties, uncles and mums and dads, and
come and see how some of the best Artists in Australia do what they do. (Music Plays) We’re in the beautiful city of Sydney this show to see
an amazing artist so come along and enjoy the incredible talent that Sydney has to offer. Well g’day viewers and welcome
back to Colour In Your Life. We’re in Sydney for our Artist’s
Expose down here at the moment. Just wonderfully talented people and I’m
with Mr Patrick Owen Wilson today, Patrick. Graeme. Welcome to the show. Thank you very much for
being hereand inviting us into your studio. Patrick, also, is an artist as well. He’s a very diverse man as
far as his work is concerned. And on the table here you can see actually,
one of the finished productsof his sculptures. And we’re going to go
through the process today of putting one of his sculptures
together and he’s going to take us through the whole line of
where you start, what you do in the middle, where you finish and how you actually
end up with an amazing piece like this. Now Patrick, 1983… 1983, yes. You moved from South Africa? That’s right. To Australia to obviously pursue
your love of art and sculpture? Correct. And your beautiful wife Lynn has really been a great
support to you over the years with what you’re doing? Oh yes, yes. To the extent that, I think part and parcel of what
goes into your sculptures is really very much a part of your relationship with your wife as well. Oh yeah. Can you tell me a little bit about that? Yes, well, you know, the whole
thing is that I’m trying to side step technology and do something
that’s very personal and this piece in particular, it was on at the New South
Wales Gallery, has quite a good story behind it. About when it was on display I got a phone
call from a curator,one of the curators, asking if a young child in
one of a group of school kids could, he was blind at the
time, he was blind, and he wanted to know if he could touch the
sculpture and I said, “ By all means” and that is the whole thing because it brings it
to life because if you close your eyes and you feel the contours you get an image
in your mind of what you’re doing. They’re really very, very
tactile pieces of work as well. Exactly. But in starting these you simply just don’t one day just start
to carve away you actually start with drawings, don’t you? No I do. I sit down with my sketch pad and I draw for
maybe the whole day, sometimes, it takes even longer and I have to sort of get to the emotion,
and the passion I feel for this piece. As you can see here with this
piece that we’re doing today I just in the last five minutes or so,
spotted this here and I thought, no that’s the one that I want and I gave it a tick and then
from there you have to then put it into practise, you know, so I then take that image and I
do a rough sketch of it here as to how I see it developing and to
try and get this balance, you know, and the feel for it, the flowing
lines because the simplicity is, that’s what I liked about Henry
Moore’s work is his simplicity. And also try and incorporate
an attitude to the sculpture because the attitude of the sculpture,
you know, sort of brings forward, a sense of emotion as well, you know, and you can relate
to it. So I try and get that briefly in this sketch and when I’m finished with that
then I start on the clay model. So does this in any sense represent something to you?
What is the idea or the emotion behind it? It’s a female, female torso and, you know,
without all the limbs and everything it’s just capturing the pure passion of what
I feel towards the female form. Excellent, so where do we go from obviously the sketches,
we move on to, I mean you’ve got to sort of… Yes, what I do is I make a maquette first.
I make a little model, like this. It comes from me doing
the interlocking pieces where I have to build them together to form and I have to create
the shape and I have to know how I’m going to model it and how I’m going to cast it. In this case that I’m doing today
I’ve decided to make the master saleable, in other words,
it’s going to be a finished product in polyester resin and polish it up like I did with that other one.
And if anybody wants a copy of it I can always do it. Do it again, absolutely. I try and, in other words, I try and do the whole
process myself. I don’t really want to hand it out to some other guy to finish off my work, you see. Sure but obviously with the
bronzing you would do that. Oh I’d have to do that.
Yes, I can’t handle the bronzing, no. So we’ve gone from there.
Do you have wire in there at all? Yes I’ve got wire in there. And what is that type of wire? That is aluminium wire that I’ve got here.
This is the different armature wires. This is very soft.
That’s quite hard but that can take more of a load. Like I use that on this sculpture here but for
this one I just took a little bit from of this and snipped it off. So from that particular stage there, we’ve done our drawing,
we’ve gone to the maquette, where do we go from there? Now we have to set up on
creating the clay model for it. And I can see you’ve made
a reasonably solid start on it. Yes, yes I have. Show us, show us how
you do what you do. This is more or less the front view.
As you can see, I don’t, I don’t spend too much time on the clay.
I don’t go too finished. I finish it off from this stage and smooth it out as much as I
can because I don’t finalise the sculpture in this form. So that goes there and then I get my
clay out here and I build up the back. So you’ve had, obviously,
other influences as well, Michael Angelo… Michael Angelo, Rodin. All those guys. But they’re all very different sculptures? They’re all different but they’re all got
a quality that I draw from,you see? The simplicity of Henry Moore,
the Celtic art with the circles and the flowing lines and Rodin,
of course, which is the emotion. If you’ve seen the Burghers of Calais you’ll
know what I’m talking about. But this is, this is the side of it that takes a little time.
It’s just to get it done to a degree that I’m happy with. I’ll say right, I’ll cast
that and then I finish it off. Does the piece actually
talk to you as you go along? Is it sort of saying something to
say well I need you to take me here? Does that happen to you at all? It does happen where suddenly I look at it and I think
now how did that happen? It’s almost as if you’ve got some help coming
across at you, you know? Divine intervention? Divine intervention, yeah! It’s sort
of the Muse watching over my shoulder. Ok, artistic Muse that
happens to be a phantom. I do believe in that sort of thing,
you know, that your subconscious is also working while you’re
doing your conscious work here Yes, it’s amazing the imaginative
process that come out of your subconscious. Oh yeah it’s wonderful. It’s incredible. Wonderful. Now what I do is I hold it to the light,
that’s the best way, and where the shadow forms… Oh ok. …dictates to me as to where the line will be. Oh that makes sense. That makes sense. Yes. I now so I put these
little shims in that I’ve got over here. What’s it called? A shim. A shim, ok. A shim. What I do here is I take
an aluminium can and I cut it in half and I cut these little pieces
out of it. This is what the can looks like when I’ve cut it off. I just take a little pair of shears
like this about an inch wide and it’s ideal. It’s thin, cheap and it’s easy to work with.
I start following the shadow. Oh so it’s the little round end that goes in. It’s the little round end that goes in otherwise
it starts dictating its angle, you see? So then you just sort of
space them along there like that. I’m thinking in some of the other
sculptures that are done in comparison that they have to put that
really fine detail in because of the bronzing, but because you’re using the
polyester resin you can really just reshape it yourself. Exactly! I can reshape it myself.
So what I do then is I’ll get a, I’ve got an old sponge that I keep
from packaging. All I do is I just turn it like this. I just lay it down like that and that forms
my sort of bowl with all the shims around here, like this. To make that centre there, I take a bit of clay,like this,
and then I just block that off, like that, smooth it out. This clay I take out
when I do the other side. Ok. Oh because you don’t need it in there. Yeah, because I don’t need it any more.
So I seal that hole off like that. Then I pour the plaster of
Paris in layers. Then I add a little bit of scrim, which is like hessian,
to give it strength, and then a last layer of plaster of Paris
again and then that side is done. I let it dry. I can show you one side.
That’s what you get. That’s one side. Ok, oh there you go. And these,
these little nodules there? These are little keys for the other
one that fits on the top to slot into position. You do the one side… That’s right. And then, have we got
another side to this at all? There is another side but I haven’t
got it here at the moment because… Oh ok. But I’ll show you this. This is what it
ends up as. These are two sides put together. Oh I see. So what I do is I just
tie it up with string. Ok. So at this stage here I have to put on a releasing
agent there so that the polyester resin doesn’t stick to it. OK. Well can we do that then? Yes. That would be great. So I’ve got my release agent here.
This is my release agent for the plaster of Paris. Is that what it’s actually
called? Release Agent? Yes, yes release agent. Correct. Then I’ll just put this
out of the way and now we work on the mould. Take a paintbrush, any size paintbrush.
I can use something bigger. And this is especially done for plaster.
It’s ideal for sealing plaster and you can also take this, if
you need a shiny coat afterwards, say for instance your doing
some jewellery or something, you can then polish this sealant,
this release agent and give it a sheen. So anyway, that’s the way it goes. I’ll just run this around
until I’m happy with all the edges covered. Right, so that’s about it there. Now what I do is
I pour some gel coat into that. So I pour some of this in. You see it’s quite viscous. It runs quite easily.
Now I have to add the hardener. What I’ve done over the years,
I’ve got so use to working in small quantities like this that I know
more or lesshow many drops I’ll put in there. So I’ll count the drops as I put them in. All right. In comparison to ????? If that’s 100% Now I mix it. Now that I’ve got
my mix I’ve gotmy peroxide in there with the hardener
and I now add it into here and try to spread it around a little bit.
Just take this and spread it around. An ordinary paint brush here.
So I just spread it up to the edge. Paint it all along and just flick
the edges like that to get a decent thickness because it has got a sort of a
thickness that it,like honey, you know. It’ll leave a certain
layer on there. Right. Now you just got to wait for it to harden. You wouldn’t continue to
keep just working that? No! No!
You just have to wait now till it just hardens? You’ve got to let it harden and then give it
another layer, maybe another two layers and then on top of that you put in fibreglass tissue. Ok. And from there you do the other side. I do the other side as well and then I put the two
together, which looks like this, and then I fill the ends. Cut the corners? I put the clay around here to make it
sort of water proof and then I roll, I put an amount into there,
as I’ve mixed here, just to fill and then I run it around so that it goes to all the corners.
You can see as it runs there like that. See it running? Oh yeah it looks like Lava. Yeah that’s right. Now that’s what the final layer will
do and you can give it one or two layers just like that. What ever you feel it is and the thickness
that you want to get in the sculpture itself. And that’s what you do.
You wait for that to dry. To set and you do it as I say, about three layers,
then with the tissue, and then another layer on top of it and then you seal it in
this form here. You fill this end. Run it around and then when you do the final one
you stand this on a plastic sheet or I use baking paper and you stand it up on the end like that and what’s in
here runs down to the bottom and it forms the base. Oh, it forms the base! Oh ok. I see what you mean.
So that there’s still space inside there? Yes, this is all hollow casting, in other
words. Yes. So you can determine whether you want to make
it heavy at the base, or not. By the amount of liquid
that you put inside it? Now I add marble dust to the gel coat and it comes in like
a thick paste, which I put in here very last and stand it up. I fill it up to about there and it
gives it weight so that it doesn’t fall over. Oh, that’s fascinating, isn’t it?
It really is. So the top is all hollow cast
and that but the base is solid. Just amazing. Alright, so from here, we’ve done
that, obviously because of the process we’ve gone ahead and done a few more of
these. But from there to there… To there. Where do we go from that? From there we take this apart and you get out, you
get your product out that looks something like this. Voila. That’s what it looks like. How about that, hey? That’s just great.
There’s sections of this that are actually hollow inside. Yes. Is that right? That’s just amazing. Yes, yes. Because it looks like it’s a solid… It looks solid, yes, absolutely. But what I’ve done is I’ve taken
off the flashing that comes here, you know, like you always get
a bit of flashing on anything and all I’ve done is I’ve taken my rasp, like this, which is
a excellent tool, and I’ve just taken the edge off like that. And when it’s at that stage I then take
emery paper herethat I use, which is ideal. It’s rough, it’s about an eighty grade, maybe, and I take a piece off like this… Tear it off? Tear it off. That’s a little cork block
that I use. Now that’s got a flat surface. I always work
from a flat surface, like that, and I take it off.
Fold that over. Now you assume that the whole thing has
been shaped and everything with the rasp. That takes a full day. So as you can
see it’s not bad. It takes it down pretty quick. Yeah it does, doesn’t it? There it is. It’s actually quite, it’s
very physical work, isn’t it? Yes it is very physical work. This is a wet and dry now.
Now you start rubbing it in. Shaping it, smoothing it out. But as you can see already
it’s pretty smooth there. Yes, it is, isn’t it? Now it just depends on how
far you want to go with it. I’ll bring it right down with another two
twenty grade. Now you see the red is starting to come out. Then you can use some
cutting compound if you want to take it further, which I’ll do. You just keep sort of breaking it
down in layers and layers and layers. Yes, just keep breaking it down, correct. Well as you can see Patrick has taken us through some
various stages of actually putting his sculptures together. We’ve gone from the initial
Marquette to the clay model to this particular piece here that he’s
done for us with the resin to this one here where you seal it up to this one
here where he’s actually filing it down. Now it would take about
two, two and a half days? Two and a half days, yes. To actually file that down
where you want it to go but because Patrick’s been so well organized
and obviously does this as a living, he has produced another one for us which is almost
in the final stages and this one actually has some type of cutting compound on it, doesn’t it? Yes, Yes. Cutting polishing compound. So can we actually have a look
at you finish that one as well? Yeah, sure. Do some work on that.
Sure. You’ve actually ah, but it’s the
same kind of compound you would generally use for, say, doing
the motor vehicle, is that right? Yes, exactly right. Correct. And it brings it right up? It does. It looks sensational, doesn’t it? You’ve
actually had work hanging in museums in Europe. There was a piece that you did
that was about eight feet long, wasn’t it? Yes. That was done for the artist
in the Sun International in Johannesburg. Ok. Also Patrick obviously being a very diverse artist,
does a lot of paintings as well and you can really see the influence, and we’ll sort of
screen those in as we go along. The influence that the sculpture takes towards the
painting and the painting takes towards the sculpture. There really is a common synergy
in both of the mediums you work in. And it’s quite fascinating with
what you come up with. Now as you can see from where we
started, this is quite, quite exceptional. From where we’ve started,
actually just the beauty and the curves all the way around
of these pieces is just magnificent. As Patrick described he loves the small bump inthe
woman’s back, which is just in here as well. Which is great. Even along there with the shoulder blades.
You just love it. It really is, it’s just beautiful. Patrick also has some other
pieces I’d like to show you. They’re just magnificent works
of art. If you could just kindly get some of that out of the way,
bud, and I’ll bring these ones up. Right. So as you can see, I have to work out with
this one, just superb. The detail in this piece here, now how would you describe this Patrick? This is an inverted cross. It’s an inverted cross. Yes. So where does the cross go?
How would you look at it? If you had the cross it would be in there like that. I see, ok. There you go. And then we have another piece which is this
black one here. Once again very, very tactile. I mean you can, you
just simply want to come up and touch the pieces there. They’re just
wonderful they really are. All right guys, as you can see, wonderfully talented man.
Patrick, thank you so much. Thank you Graeme. Thank you. It has been a pleasure. It’s been a pleasure for me too and you know,
once again, I always learnso, so much. Some of the comments
that we’ve actually got feedback from, from all over the
country and people who have just wanted to move forward
and paint and draw and even sculpt. I think the biggest word that
stops us from doing what we want to do in our lives is the word
fear and we get it all the time on TV whether it be for insurance, funerals,
what ever it is, and Patricks one of those people that put that
word aside and has gone on with his life and his career to
create amazing things of great beauty and great integrity
as well, for what he’s done. So don’t ever be afraid to
go out there and do this. We’re alwayshere to help, people like Patrick.
Obviously get in touch with Patrick if you want to talk to him about his work and what he
does, very, very worthwhile and just magnificent work. We’d always like to thank our sponsors as well.
We’ve got some amazing things happening. Lots of new artists coming on board, workshops, we’ve got
tons of workshops coming up. A whole bunch of things that are
really going to make your artistic future very, very worthwhile
but as I always say, remember, till we see you again, make sure you put some
colour in your life. See you next time guys. Bye. Bye.

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