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.
Tannic acid patination is an ancient technique for forming a dark protective coating on iron objects. It may have been discovered accidentally, after iron objects were lost or buried in peat bogs, then recovered later in an unrusted condition. Iron Age bog bodies have been found with intact iron blades, more than a thousand years old. (reference for iron preservation in bogs)
The process itself is simple and non-toxic. Before starting, be sure that your object is clean, free of grease and oil, and lightly rusted. Japanese swordsmiths would boil their iron Tsuba in wood ashes (lye), then wash them in vinegar, and toast them over a Hibachi to rust. Place the object in a container, and cover it with bark pieces. Add water or vinegar to cover the object and the bark. This should then be allowed to sit for several weeks, to develop the coating. Ideally, the water should be free of chloride, so water that has passed through most water softeners is not acceptable. Distilled or de-ionized water will work well. You can use rain water, but some rain water contains a small amount of chloride, which you want to avoid. If you have a municipal water supply, they may be able to tell you the chloride content of your water. (analysis of Grand Rapids, Michigan water)
As with any chemical process, heat will speed up the reaction. Small objects can be boiled with bark, or the container can be put outdoors in a sunny location, depending on the climate and weather. click here to see a small iron sculpture, which was processed by heating with bark and water in a slow cooker The tsuba on Japanese swords were traditionally boiled in pomegranate peels to darken the iron. patination of iron tsuba
Lowering the pH of the solution with an acid will also speed up the process, but do not use muriatic acid, which is hydrochloric acid, as this adds undesirable chloride ions. Chloride will lead to destructive corrosion of the iron. An organic acid, like vinegar, will work. Phosphoric acid is found in some rust removers. This may add a blueish cast to the patina.
I have fermented the residue from jelly making, which contains some sugars and organic acids. This will form some alcohol, which can be further fermented to acetic acid. Strain out the liquid, and add it to the bark. The resulting solution was quite dark, probably due to some water soluble plant pigments.
Large objects can be painted with a solution, as recommended by the Canadian Conservation Institute. CCI bulletin
1. WATER You need water with as little chloride as possible. If you can, use distilled or de-ionized water. Rain water may be acceptable. Do not use water from a water softener that uses salt.
2. TANNIC ACID This is actually a mixture of organic compounds. You can buy tannic acid. Tannic acid is contained in tree bark, tea, hops, sumac fruits, black walnut or pecan hulls, and pomegranate peels. You can leave these in the solution while the patina develops. They will eventually have to be replaced. Any hardwood or softwood bark will work, but oak or cherry are particularly nice. Solutions of cherry bark may be toxic. Bark mulch from a garden supply place is sufficient. Logwood contains tannins, and may be available where supplies for trappers are sold.
3. PHOSPHORIC ACID You can buy this on Amazon, or maybe in a local drug store. Coca Cola and other soft drinks may contain phosphoric acid.
4. Other ACIDS Ideally, your solution should have a ph of 2. Distilled white vinegar works. Avoid muriatic acid, which is hydrochloric acid.
5. Homemade vinegar. Anything with sugar can ferment to alcohol, which can be further fermented to vinegar. If this does not occur spontaneously, see if you can get organic vinegar which contains “mother of vinegar” to add to the solution. Try fermenting fruit pulp or peels, beets, carrots, molasses, or anything else that you can find containing sugar. Fruits usually contain other useful organic acids as well. Since you are not going to eat or drink this, spoiled or rotten fruit is fine. Add yeast, and let sit a week or so before straining for use. Allow room for expansion.
6. If you have access to a silo, the drainage contains organic acids, and often alcohol as well. This can be used as the liquid in your patina solution.
7.Alcohol. Alcohol acts as a solvent, and helps the solution to penetrate cracks and porosities in the cast iron. It isn’t strictly necessary, particularly if you are fermenting fruits to produce the material.
My plans changed a bit from the initial proposal, which was to cast iron directly around the granite. See my previous post about cultural resource management, and choosing the stone. I could not have completed this sculpture without the help of my assistants, Sutton Demlong and Justin Playl. Both were highly recommended by Tamsie Ringler.
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.