20 years in the Loveland, Colorado sculpting community
Prior to my move to Colorado, I lived in California and worked for two accomplished sculptors. My jobs were primarily focused on sculpting, and I engaged in a lot of it which was real important. However, I now realize (though I didn’t at the time) that I missed out on learning many other crucial processes to get a finished bronze sculpture. I’m certain I could have learned it had I shown more interest, but that wasn’t the typical approach in California for young sculptors, so I was simply content with my sculpting.
I moved to Colorado in early November 2005, which was 20 years ago. One of the important things I did early on, and something I always recommend to beginning sculptors, is that I decided to spend as much time as I could learning every step involved in turning my clay sculpture into bronze. It is something not too many sculptors know how to do.
Moving to a new state to be with other sculptors: Loveland, Colorado
What amazed me to see in Loveland was that many of the sculptors I met had their studios equipped to handle several steps of the bronze production foundry processes, from mold making, wax pouring and chasing, TIG welding, metal chasing and patina. They were also happy to share their knowledge of these processes. There were, and still are, many skilled artisans with their own shops setup for each of these processes. Since the foundries in Loveland provided ‘cast only’ services alongside the typical ‘full service bronze foundry,’ it enabled sculptors to engage in hands-on work beyond just clay sculpting as long as we could get our own equipment if not relying on the ‘independents’.
One of my first studio assistant jobs after moving to Colorado was working for the sculptor Dee Clements. Dee has been a successful sculptor for a number of years after learning and working for the great sculptor George Lundeen. Dee taught me all of the processes he used in his shop and I soon took on the responsibilities for mold making, wax pouring and chasing, welding, metal chasing, and patinas, as well as blocking out some of the bigger clay sculptures.
I made a fair number of mistakes learning these processes, some of which were a bit costly if I recall. But I was lucky to be in the position I was in. Soon after working for Dee I was able to get many other projects on my own and have since installed sixty five life size monuments all over our country.
What I learned then, I try to teach to my assistants. Learn as much as you can about what you want to do in life.
