 Modern
Alchemy
fusing art and bronze
'It's very hot, you know, so don't touch it.
You have to wait a long time before it is ready.' my
young guide instructs me. Today, I am in his hands,
to watch, learn and marvel at what his parents hands
have wrought.
Four kilometers outside the picturesque town
of Pienza stands Sant'Anna di Camprena. Probably most famous as the
church used in the movie, "The English Patient", this 15th century
monastery contains numerous frescoes by the notable Sodoma and some
of the most beautiful views of the Val D'orcia.
It is in the shadow of this landmark that I find
myself, at the home and studio of Stefano Breschi and Sarah Baker...and,
of course my guide, Ducio (age 5). This old country house shaded
by a majestic oak tree is host to dozens of students and artists
who attend summer courses on art, sculpture, fresco, bonze casting.
At the same time, it serves as the permanent studio
and exhibition space for Dedalo, an association of artists whose
objective is to create group situations, where likeminded people
from diverse cultures can meet to talk, exchange ideas and create.
But today it is fall...the students are gone,
teachers have returned to their lives and Sarah and Stefano are desparately
trying to get one more casting done before they, too, go back to
Luca for the winter. Sarah explains that this is more difficult than
I may think. The woman she is attempting today has already been cast
twice before, each time without success.
Stefano will be making another piece for his massive
work of an owl. When finished, it will stand one meter in height
and incorporate 22 separate pieces.
So with the entourage looking on, they set about the
task of melting the copper and tin in the outside foundary
they have built.
While waiting for the bronze, Stefano
explains the process and shows me the various pieces
that have preceded this moment.
"The first step is to make a wax model
of the finished piece. This will be used to form the
mold into which the molten bonze will flow."
"I find this one of the more satisfying jobs because
there is the raw feeling of creation in your hands and the satisfaction
of being able to control the piece from start to finish."
"After this, during the making of the mold and
the actual casting...things are much more in the hands of fate, luck
and the moment. This woman of Sarah's is a perfect example. She just
does not want to be caste."
"Once the mold broke and the other time and an
entire leg went missing...probably due to an air bubble."
"But with the wax, you can bend and form, even add texture to the
final piece, all through the way you handle the material. The only
limitation really is the bronze and how it will flow through the
mold or how the air will get out."
Using the wax model, a mold of clay and composites
is formed around it and allowed to dry for 24 to 48 hours. These
molds are then placed inside two open-ended steel drums, packed with
sand and readied for the bronze.
But one can't get the impression that this is
being done in a studio in SOHO or some austere isolation. We are
standing outside a 16th century farm house under what would have
been the cantina but now has no roof.
The children are playing on a tire swing in the
oak tree while neighbors and villagers pass by on their endless hunt
for porcini mushrooms.
Occasionally, someone will stop and ask what we
are cooking. Despite their look of enthusiasm regarding the couple's
work, one can't help but notice the slight disappointment that this
pot does not contain a simmering Sunday feast.
Well, pasta or not, the brew is ready and the
casting begins...not a bit too soon from Sarah's perspective. In
less than a matter of minutes, with the skill and care of those who
know their craft and respect the dangers involved, the molds have
been filled.
Throughout the tensest moments, there remained
my trustee guide Ducio telling the other children to watch out and
making sure I didn't get too close with my camera. With the
foundry off and the extra bronze set aside, it's time for us to move
on to another pot...the one that was filled with pasta, as we await
the cooling bronze and the outcome.
Following an extensive meal of chipatis and vegetable samosas...not
your typical Italian fair but Sarah's vegetarian... the mold's were
broken and the brush readied.
Like an archeologist slowly and delicately uncovering the find
of the century, Sarah's brush searched out any obvious holes before
scoring off the remaining clay of the mold.
I found my self wanting to yell out, "Just get on with it so we
can see if it is alright." But slowly a face began to emerge; then
an arm; and finally a leg.
The mold had held and with the exception of some minor bubbles
which are normal, I am told, the Woman emerged from the ashes.
With this success in hand, we packed up the furnace, loaded up
their cars and saw Sarah, Stefano, Ducio and Sophia
off to their winter home in Luca. They and their
students will return next year.
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