February 18, 2009:
Dale and Ina retrieved the clay from the molds and cleaned them all well. The photo below shows the kiln with the first layer of molds filled with the recycled glass. There will be another shelf over this one with a few more molds. Then they will be ready to fire.

February 16, 2009:
For our meeting/workshop at Dale McEntire's studio, Dale and Ina provided an opportunity for everyone to make a small cast glass sculpture via an open-face mold.
     During the meeting, members sculpted a pattern from water-base clay, each member working on a sheet of smooth glass. Some brought found objects to incorporate in their design.
     Then each built a clay wall around his or her pattern, allowing about a half inch space, to prepare for pouring the plaster/silica mixture to form the mold. Most of the sculptures required three pours of the mixture: the first to thoroughly cover the pattern, and subsequent pours to build up thickness. For flatter patterns the clay wall was extended a half inch above the highest point of the pattern, and the cavity could simply be filled to the top with the mixture. To produce a more uniform mold wall thickness for tapering patterns (for more even heat in the kiln), only a low wall was built and the mixture was poured repeatedly over the form to produce a tapering mold; the member then pressed a small sheet of glass onto the top of the wet mixture to create a flat spot, holding the sheet parallel to the work surface. When the mold would be inverted for casting, it would stand on the flat spot.
     Because we were producing waste molds that would break away from the cast glass, mild undercuts would theoretically be possible. However, to reduce the risk of capturing bubbles when pouring the mixture or in the casting (and to make things easier for Dale and Ina who would be removing the patterns from the rigid molds!), members were encouraged to design their patterns without undercuts.
     Part of the design challenge was to think ahead to visualize how the hardened mold would be inverted and the clay removed to reveal the cavity, and to allow for the volume reduction of the casting material as the glass shards would melt and the air space that was between the shards would bubble out. Dale and Ina encouraged us to think of the upper part of the open mold as a reservoir that would hold the extra shards needed to supply the glass that would solidify in the lower part of the mold. Some members chose to build a clay pedestal that -- when dug out -- would in effect become a sort of funnel. If exactly the right amount of glass shards was loaded (hard to predict!), the flat surface of the hardened glass cast would coincide with the intended bottom of the form; otherwise the form would either end up with a thin glass pedestal or would end up a little shorter than intended. Other members chose to create a taller pattern with a sort of integrated reservoir, extending contours below where they estimated the glass would stop, being willing for the casting to end at any point along that range.
     Thanks to Dale and Ina for all the preparations and the hard work of mixing (dry-mixing the silica and White Hydrocal and then adding water) and the coaching. Their work on behalf of the group is far from over, as during the next few days they will be removing the patterns from the molds and carrying out the casting.

Here was the challenge issued by Karen Ives in the announcement of our November 2006 meeting at the studio of Kato and Fred Guggenheim:

Premise: Can 12 artists each with a different found object, and extremely different ways of building get together and create one sculpture? This isn't about process or the outcome exactly but more about working together to solve problems. Where do we begin? Should we include all of the objects? How can we take this one apart? Who knows about color? These are just a few of the many questions we will encounter. Think of this meeting as a reality TV show called "The Golden Calf," and in it we are given exactly 1 1/2 hours to build the best sculpture we possibly can with limited objects and tools but all the brilliance we need. Sure, there may be fighting and hurt feelings but in the end all these differences will be forgotten. So, come one come all for a wonderful evening of collaboration you will never forget.

Mandatory material: found object
Suggested materials: pliers, wire, tape, glue, handsaw, and whatever you think might help with deconstruction and reconstruction.