The Pedvale Open Air Art Museum lies in a magnetic field. The magnetic force lines of this field interact with the large granite and iron sculptures to create some unusual magnetic effects. The lifting ringon my sculpture, Sekimori Ishi attracts the north pole of a magnetic compass. On the other side of the park, Carl Billingsley’s sculpture Iron Lightning click for photo of Iron Lightning (Dzelzs zibens) attracts the opposite south pole. In essence, these two sculptures form a large magnet in the park. Other sculptures in the park are similarly magnetized.
This sculpture was inspired by a trip to the Chicago Botanic Garden, where I saw a sekimori ishi. I was intrigued by a symbol that meant “don’t go here”, which also included a convenient handle, that that could be used to move it out of the way.
The next step was to recreate the form. I had a nice, small piece of walnut, which I grooved and drilled.
I covered the grooves with masking tape and cardboard, and taped on a sprue, then buried this in loose sand, and poured in molten aluminum.
The result was this. Note that it did not quite fill completely.
The next step was to try it in granite. It was fairly difficult to cut the grooves with a carbide wheel.
This was also taped, and a sprue added.
This also worked fairly well. It did fill, but had a hot tear.
The next step was to scale up the process. This a was done with a larger piece of honey locust wood, done the same way that the walnut piece. It was accepted in a local show, where it sold.
I didn’t want to spend hours cutting grooves in granite, so I decided to make a foam cage around a stone. The lifting ring is based on industrial lifting rings.
This was invested in masking tape, and the peice was placed upside down in loose sand, and cast in aluminum.
It filled, with no hot tears.
I really wanted to do one in cast iron. I had been planning to go to the 7th International Conference on Contemporary Cast Iron Art, and I got a call for artists. I entered the piece above as a maquette. My proposal was accepted, but they wanted it bigger than I had planned, and it looked like it would be impossible to cast the iron in one piece around the stone. Before I went to the conference, I did one more in aluminum, with a lifting ring only. This was carved in foam, fitted to the boulder, cast, then glued in place.
I finally did get to make the cast iron version for Pedvale.
I would like to continue with this theme. There are a few possibilities. I have heard of obsidian boulders in Iceland, and I may try to get one. In the meantime, I am looking for a bread loaf size lump of glass to experiment with. I may just cut a slot in the stone or glass, and expoxy a lifting ring in place. The ring does not have to be cast, but could be cut from steel or titanium using a plasma cutter or a water jet.
I have found other artistic depictions of sekimori ishi. This one was done in ceramic in France.
Sekimori Ishi Modern was an exhibit in the Netherlands.
This is my sculpture for the Iron Stone Symposium and the 7th International Conference on Contemporary Cast Iron Art, completed in June, 2014. It is on permanent display at the Pedvale Open Air Art Museum in Pedvale, Talsu Novads, Latvia.
This is a design for Sekimori Ishi, to allow construction on-site at Pedvale. The sculpture consists of an unmodified granite boulder, about 4 feet tall, (1.2 meters) and 5 cast iron pieces which are bolted together. This will be permanently sited outdoors at Pedvale Open Air Museum. The proposed sculpture is an iron and granite representation of a sekimori-ishi, which is a feature of many Japanese gardens.. This sculpture was inspired by Nabuo Sekine and the Mono Ha movement. Mono Ha is a Japanese art movement related to Land Art, which encouraged the production of objects, usually of natural materials. If you grow up in Pittsburgh, cast iron is a natural material.
The sculpture is based on the traditional sekimori ishi, as used in Japanese gardens. The term means “boundary guard stone”. As shown below, this is a small boulder, tied with garden twine, which forms a handle. Sometimes, this is a metaphorical warning to “stay on the right path”. At other times, it refers to a danger or unpleasantness along that branch of the path. It can also be a request for privacy. This is a polite request, that can be easily ignored by stepping over the stone or moving it.
This is the original maquette, solid aluminum cast in one piece around a granite stone. The full size sculpture will mimic this visually, but the “arms” will be hollow, and will not join at the bottom of the stone. The “ring” has been slightly modified, and rotated 45 degrees. It should appear possible to pick up the sculpture with the lifting ring on the top, but it will actually be lifted with a sling, and the iron pieces are not actually used for lifting. The idea is to give the Japanese symbol the style of 19th century industrial iron. This could be interpreted as a post-industrial comment on the abuses of 19th century industrialization.
The arms will be made at Pedvale from gray cast iron. They will have an open rectangular cross section, with the open end facing the boulder, which is approximately 4 foot tall. (1.2 meters).
Dimensions of the arms are D=6 inches (15 cm), B= 3 inches (7.5 cm) t=1/2 to 5/8 inches (1 to 2 cm), depending on material available to make the casting patterns.
There are 4 arms, at right angles to each other. For identification, label them north, east, south, and west, like a compass. They do not need to be oriented to the compass direction when the sculpture is sited.
The arms will be curved to fit the boulder, and have squared-off ends. They will be bolted to the boulder through a hole in each end. The bolts, made of threaded steel rod, will be anchored in the boulder using a commercial, long set up time epoxy.
The lifting ring has been re-designed to have a round, 12 inch diameter circular hole. (20 cm in diameter). This should be large enough, so that viewers can not get their heads stuck in the sculpture.
The ring will be cast in one piece with a cross shaped plate at right angles to the ring, with a square piece between them.
The plate will be bolted to the 4 arms with 1/2 inch diameter threaded rod,or a metric equivalent. This will pass through the upper end of the arm, then the cross shaped part of the lifting ring, them into an epoxy-filled hole in the boulder. Loc-tite or something similar will be used to prevent the nuts from being removed.
The arms will slide over the protruding ends of the cross shaped lower piece of the ring assembly, in a mortise and tennon joint. There are two threaded rods holding each arm, one at each end. The rods are placed and set in epoxy after the lifting ring and the arms are placed and fitted to the boulder.
As the arms do not actually cross at the bottom, the first few inches of the sculpture will be buried in gravel, to hide the lower end. This should make it appear that the arms cross under the boulder. If possible, I would like to use very small crushed limestone, and ram it into place. This may be mixed with local clay, if it is available. I have see lime-clay-flint foundations over 1000 years old in Winchester, England.
As a final addition, I would like to bolt a large piece of cast aluminum to at least one of the lower arm ends to act as a sacrificial anode. This can be any locally acquired scrap aluminum. Since aluminum is more reactive than iron, this will corrode in preference to the iron. This technique has been used to protect street railway rails, plumbing, and marine vessel hardware. I might cast these pieces at home, before the conference.
As part of ongoing experiments with expendable molds, I will be making another Tunguska sculpture. As you may know, the Tunguska event occurred about 100 years ago in Siberia.
First, I have brewed a batch of mint tea:
This is not for drinking. I will be making paper maché and pasting cardboard using wheatpaste. The recipe I have says to add peppermint oil. I don’t have any, but I do have lots of mint, so I am using freshly brewed mint tea, instead of water. One part flour to four parts mint tea, mix well and boil for 2 minutes.
That gelled quite quickly, after enough heat was applied. It looks like mint pudding. Next I need a bag of sand to use as a base. Tunguska I used a granite cobble, but the sand bag can be removed after casting. This should leave a hollow aluminum shell, with holes in it.
The next step is to surround the future hole with a cardboard skirt. Trapazoids work well, and they are glued to each other and to the plastic bag.
I put my tin can mold over the hole, and cast a “cookie” using paper maché. This was made from wheat paste and paper sstrips that had been soaking for several days.
This process is repeated until the bag of sand is covered. The paper maché is allowed to dry thoroughly.
multiple cookies where holes will be
The gaps between the paper mache cookies are bridged with cardboard, and taped. A hole is left to attach a foam sprue, made from packing foam and a toilet paper inner roll.
top layer of cardboard
The whole assembly is packed in dry sand, and the sprue is filled with molten aluminum.
cast with sprue
Tunguska II The finished work
My sculptures were on display at the Urban Institute for Contemporary Arts from June 7 to August 18, 2013. Package was purchased by a collector.