Update: Wire and Kelp

I like watching the aging process with this fellow.
Merman --
Wire figure: 1996.
Kelped: 2015.

Drought

Merman in wire and kelp:
a few weeks out of the sea.

Revisiting: The Merman's Head

The Merman's Head:
sculpture mix;
copper carbonite oxide;
matte white glaze.

This must have been the third of the four or five full-sized heads I have sculpted.

GMB: "I Gave It Back To The Sea, To Dance In"

BEACHCOMBER

Monday I found a boot –
Rust and salt leather.
I gave it back to the sea, to dance in.

Tuesday a spar of timber worth thirty bob.
Next winter
It will be a chair, a coffin, a bed.

Wednesday a half can of Swedish spirits.
I tilted my head.
The shore was cold with mermaids and angels.

Thursday I got nothing, seaweed,
A whale bone,
Wet feet and a loud cough.

Friday I held a seaman’s skull,
Sand spilling from it
The way time is told on kirkyard stones.

Saturday a barrel of sodden oranges.
A Spanish ship
Was wrecked last month at The Kame.

Sunday, for fear of the elders,
I sit on my bum.
What’s heaven? A sea chest with a thousand gold coins. 

--George Mackay Brown


from The Collected Poems of George Mackay Brown

Rough Drafts For Laughs

Wailing mermaid: rough draft / clay play.

Salvage Work: Rough Mermaid

I made this rough model for a larger piece, and now I'm wishing I'd spent more time on her face and on properly glazing her tail.  Still, each model helps me with the next.

Sculpture mix; green and blue glazing; copper wire; copper fishhooks; charcoal.

To The Kiln: Creatures

Practice pieces.

Askance

Aegir: Copper and Clay

Mermaid, Seeking

Mermaid, Seeking: sculpture mix; sea foam glazing; copper wire; water.

Mermaid with a taste of rum.

Sirens: Models of Danger and Desire

Sophia Loren, diver: still shot from Boy On A Dolphin.

One of my earliest mermaids in clay: sculpture mix; pit-fired on Ocean Beach, SF.

The tail is reddish from the kelp I wrapped around that part. The charcoal and blue markings surprised me with their aptness here: pure luck in the pit for a crude piece of work.

I've posted shots of this one before, of course. I wanted to look at it again with fresher eyes, and so used the camera and posted it. (That tends to work for me. Handling it, actually taking the piece down from the wall and feeling the clay, works too, often better.)

Study prompts.

Mermaid On The Wall

Warrior Mermaid: sculpture mix; raku, but flawed -- from years ago.

Mermaid: Reprise

October 2010.

Shelf Life

Mermaid: Pit-Fired

Pit-fired mermaid. A crude piece, but I knew nothing about sculpting at the time.  Still, the crudeness worked, don't you think?

First pit-fire experience on Ocean Beach. A long time ago.

Luck conspired with fire here.

The red on the tail came from the kelp I picked up on the beach 

and wrapped around the piece.  My instructor Jim suggested the effect.  Thank you, Jim, for that and other kindnesses, other nudges towards artistry.

Mermaid Sky

 

Amazon Mermaid, With Rocks: 

stoneware; blue and clear glazing; 

copper wire, varying thicknesses; beach pebbles.

Arnold: "The Forsaken Merman"

THE FORSAKEN MERMAN

Come, dear children, let us away;
Down and away below!
Now my brothers call from the bay,
Now the great winds shoreward blow,
Now the salt tides seaward flow;
Now the wild white horses play,
Champ and chafe and toss in the spray.
Children dear, let us away!
This way, this way!

Call her once before you go—
Call once yet!
In a voice that she will know:
"Margaret! Margaret!"
Children's voices should be dear
(Call once more) to a mother's ear;

Children's voices, wild with pain—
Surely she will come again!
Call her once and come away;
This way, this way!
"Mother dear, we cannot stay!
The wild white horses foam and fret."
Margaret! Margaret!

Come, dear children, come away down;
Call no more!
One last look at the white-wall'd town
And the little grey church on the windy shore,
Then come down!
She will not come though you call all day;
Come away, come away!

Children dear, was it yesterday
We heard the sweet bells over the bay?
In the caverns where we lay,
Through the surf and through the swell,
The far-off sound of a silver bell?
Sand-strewn caverns, cool and deep,
Where the winds are all asleep;
Where the spent lights quiver and gleam,
Where the salt weed sways in the stream,
Where the sea-beasts, ranged all round,
Feed in the ooze of their pasture-ground;
Where the sea-snakes coil and twine,
Dry their mail and bask in the brine;
Where great whales come sailing by,
Sail and sail, with unshut eye,
Round the world for ever and aye?
When did music come this way?
Children dear, was it yesterday?

Children dear, was it yesterday
(Call yet once) that she went away?
Once she sate with you and me,
On a red gold throne in the heart of the sea,
And the youngest sate on her knee.
She comb'd its bright hair, and she tended it well,
When down swung the sound of a far-off bell.
She sigh'd, she look'd up through the clear green sea;
She said: "I must go, to my kinsfolk pray
In the little grey church on the shore to-day.
'T will be Easter-time in the world—ah me!
And I lose my poor soul, Merman! here with thee."
I said: "Go up, dear heart, through the waves;
Say thy prayer, and come back to the kind sea-caves!"
She smiled, she went up through the surf in the bay.
Children dear, was it yesterday?

       Children dear, were we long alone?
"The sea grows stormy, the little ones moan;
Long prayers," I said, "in the world they say;
Come!" I said; and we rose through the surf in the bay.
We went up the beach, by the sandy down
Where the sea-stocks bloom, to the white-wall'd town;
Through the narrow paved streets, where all was still,
To the little grey church on the windy hill.
From the church came a murmur of folk at their prayers,
But we stood without in the cold blowing airs.
We climb'd on the graves, on the stones worn with rains,
And we gazed up the aisle through the small leaded panes.
She sate by the pillar; we saw her clear:
"Margaret, hist! come quick, we are here!
Dear heart," I said, "we are long alone;
The sea grows stormy, the little ones moan."
But, ah, she gave me never a look,
For her eyes were seal'd to the holy book!
Loud prays the priest; shut stands the door.
Come away, children, call no more!
Come away, come down, call no more!

       Down, down, down!
Down to the depths of the sea!
She sits at her wheel in the humming town,
Singing most joyfully.
Hark what she sings: "O joy, O joy,
For the humming street, and the child with its toy!
For the priest, and the bell, and the holy well;
For the wheel where I spun,
And the blessed light of the sun!"
And so she sings her fill,
Singing most joyfully,
Till the spindle drops from her hand,
And the whizzing wheel stands still.
She steals to the window, and looks at the sand,
And over the sand at the sea;
And her eyes are set in a stare;
And anon there breaks a sigh,
And anon there drops a tear,
From a sorrow-clouded eye,
And a heart sorrow-laden,
A long, long sigh;
For the cold strange eyes of a little Mermaiden
And the gleam of her golden hair.

       Come away, away children
Come children, come down!
The hoarse wind blows coldly;
Lights shine in the town.
She will start from her slumber
When gusts shake the door;
She will hear the winds howling,
Will hear the waves roar.
We shall see, while above us
The waves roar and whirl,
A ceiling of amber,
A pavement of pearl.
Singing: "Here came a mortal,
But faithless was she!
And alone dwell for ever
The kings of the sea."

But, children, at midnight,
When soft the winds blow,
When clear falls the moonlight,
When spring-tides are low;
When sweet airs come seaward
From heaths starr'd with broom,
And high rocks throw mildly
On the blanch'd sands a gloom;
Up the still, glistening beaches,
Up the creeks we will hie,
Over banks of bright seaweed
The ebb-tide leaves dry.
We will gaze, from the sand-hills,
At the white, sleeping town;
At the church on the hill-side—
And then come back down.
Singing: "There dwells a loved one,
But cruel is she!
She left lonely for ever
The kings of the sea."

--Matthew Arnold

Garsecg: Or, The Merman, Holding A Fish

Merman: stoneware; glazes in green,blue, and gray. Note the blotchy chest. I dripped glaze on top of glaze in hopes of gaining the texture and color of kelp, and it worked.

I've posted shots of this piece many times now, but Merman remains one of my favorite pieces and one of my first successes.