Degree in Fine Art, Slade School, London University


The Method

This is how the artist FALCK prefers to work in his creative way for his Resin productions. The method is not a prescriptive one, and no moulds are used, but a more flexible creative approach is preferred which allows modifications for improvement as greater possibilities in the making become evident. Each stage and method of building the images in resin is straight forward and follows a traditional sculpture approach of design, building, shaping, forming, then cutting back and reshaping if needed. Resin is a modern material to use, it is inexpensive compared with bronze or other casting processes and less likely to be stolen. In this exemplar method I never work with moulds, therefore allowing a more directly controlled consideration in the making, which adds to the aesthetic. A traditional sculptural process is followed: A drawing/sketch of a subject gives a preliminary tangible image to start from. By manipulation, this can be explored for aspects of movement, proportion, deliberate exaggeration, composition, scale, and feeling. This sketch is then transposed into a small 3D Maquette, which might be a 30cm.model. Firstly this is constructed with a length of galvanised wire stapled to a wooden base, and then shaped as a basic armature. A papier-mache skin is built around the wire to express and determine the form. When dry, this a firm substantial form to act as a working model for use in the workshop. This is painted with acrylic and varnished resulting in a strong idea of what the product will become. This is only however intended as the idea, not a small replica of the finished product. Some uninitiated people find this difficult to comprehend. They can only see the sketch as the final prescriptive miniature which to them then becomes a small replica, which is what they look for faithfully in the final product, but this type of a fixed pre-determined image does not allow artistic improvements to be made in the creativity as and when the final piece is developing. The final sculpture made with my creative method, is not a statue-which tends to be somewhat static- looking as a symbol, or sign, but it is intended to be more in appearance of a ‘living’ sculpture -with a simulation of movement and expression, which can touch human feelings of those who can identify with the subject or this experience. Art of this nature is made to communicate a visual message with the viewer -as art is a sophisticated language and taps into the senses. Art is made by humans for humans and as an extension of each artists’ creativity, as artists explore their ideas, they produce work which they believe is significant, explaining the genre of their ideas and time. The products of all my sculptures contain an aesthetic and a message which is often implied in the title. The production method of working up the Resin Sculpture is first to make the essential base ,then fit an armature of steel to the base to provide structure and strength. Then fixing a further galvanised wire- shaped contour to provide a surface for a resin soaked fibre-glass material to be placed upon it and finally shaping before setting. Further cutting back and sanding may be needed. Sometimes the making requires working in an upside down position on the model for manipulation of the form. Wet resin follows gravity! Several layers of these resin coats are needed to build the strength and thickness towards developing the final result of the presentation. Colour paste is used in the final coats which becomes integral within the resin itself which is light-fast and permanent. Sometimes a final seal of Flo-coat is used as a protective varnish. A trick to prevent too much shine or gloss on the result, for a matt finish, a talc is used in the mixture at the colour stage.


‘Squeeeeeler’.... was originally made for an exhibition, but serves the purpose as an exemplar of Fibre-glass reinforced resin work, as she is portable and just fits into a car. This is a new medium for Fine Art Sculpture work, which is first built upon a steel armature, together with shaped galvanised wire, this forms a basic shape on which to lay patches of Resin soaked fibre-glass. When cured, this structure sets like marble in appearance. Colour if required, is added to final layers when mixing. The colour is light fast and durable and becomes impregnated during mixing - so it is not just a surface finish. To eliminate shine or gloss, a talc is added when mixing. When cured and hard, the resin can be further shaped by cutting back and rebuilding. In my work no moulds are used, and direct modelling is possible which eliminates the reproduction look. The result can be attractive if left ‘a bit rough’ - but not dangerous to the touch, and this emphasises the unique and distinctive quality and character of the material. If left untreated with colour, it resembles Alabaster, which allows light to shine through, or is marble- like in appearance. Several layers of resin builds up a rock hard finish which is very durable and quite economical for Public Sculptures and unlikely to be stolen.