Read the story of Rosemary’s bronze sculpture of Canada’s first indigenous Senator, James Gladstone “The Gentle Persuader”. He was a lifelong advocate for Indigenous rights and he helped secure the vote for his people. Congratulations Rosemary on this wonderful recognition!
Read the full story in the Senate of Canada newspaper at:
Thank you to Leila Grein and the team at Rogers for a great segment on Celebrate Ottawa. Although the Fall Sculpture show is over, there are still several sculptures on display by NCNS artists. It’s well worth the trip out to Westboro and the NAK Gallery.
Colette Beardall was born in the sixties when Toronto was still considered a grouping of small towns with friendly neighbourhoods rich in culture. Her parents had immigrated from Germany and established businesses in Toronto. She was always surrounded by art experiences growing up. Besides enjoying music concerts, her mother excelled as a professional dress designer. Concerts and excursions to the ROM and art gallery were regular outings. Beardall remembers her youth as always being involved in some sort of artistic or animal rescue adventure.
She had to drop out of high school to take care of her mother who had developed dementia following a car accident. Her father had died the previous year, so there was never time to go to art school or pursue higher education. However, she is proud of the fascinating jobs she undertook throughout her youth. Punk band bass player in the 70s, and jobs such as wardrobe head on feature films and in other capacities on film sets. During the time she was working as a legal secretary, she met her husband.
After they married, the couple settled in the Yukon and were entranced by the wild north. Her husband had a position as a federal prosecutor based in Whitehorse and travelled regular circuit courts. During that time Colette was a new mother and interested in learning native crafts such as moose hair tufting, bead work and creating traditional northern parkas. Living, hiking, horseback riding and driving in the wild splendours of the Yukon and Alaska strengthened her love of nature. Then following an eleven year sojourn in Alberta, they moved again, settling in the town of Metcalfe, south of Ottawa, where they raised two children and a lively animal menage including her beloved miniature horse Montana.
Covid has put a blanket on travel for Colette, but she is happy living with her dog and horses on their little five acres of woods, which has brought her into closer contact with wildlife than she expected. Her backyard woods have been home to foxes and temporary shelter for porcupines, bears, raccoons, skunks, stoats, coyotes, and multitudes of birds. That has been her pleasure and respite: in the woods soaking in the atmosphere and watching the seasons change. She considers that has been a great influence on her work.
Throughout her adventuresome life, she has explored different art mediums, searching for something to suit her unique interests. She loves woodworking and sewing, but felt her efforts paled in comparison to her mother’s skill and her father’s furniture design and refinishing abilities.
When the Beardall children were very young, the family had settled in St. Albert Alberta for a time, which Colette felt was fortuitous. The city’s vibrant art community boasted a beautiful municipal centre designed by Douglas Cardinal. Mother and daughter registered in mom-and-tot clay classes and her interest in clay really just evolved from there. Her skills developed, so that soon enough she started teaching at the St. Albert Potters Guild when her son began half days at school. She taught kid’s and adult hand building classes and created school board art curriculum. Colette also enjoyed some local success as a potter. But her love was always sculpture , an attraction which had begun when she was a youngster.
In 1971, family friend and professional sculptor artist Sigfried Puchta sculpted 11 year old Colette’s likeness and in so doing, set her artistic direction: Puchta gave Colette her first lump of clay and asked her to make something in time for their next sitting. She made a torso of a male figure on one side and a female on the reverse. Watching Puchta’s face as he studied it, she remembers his words to this day. “You have a gift. You need to pursue it”. It’s taken her time, but she is now firmly dedicated to figurative clay sculpture.
For Colette, the process of sculpture begins when she is moved by an engaging news story or conversation, She imagines it in a sculptural context and seeks to express that emotional quality in her work. For example, concern about difficult historical events engages her feelings and is translated into her art. The sculpture Nightingale Whisper, a prize winner at the national . Figureworks Exhibition this year is a powerful example of the haunting tragedy in the Ukraine. She does not make for the sake of making, and says that is why she finds that she is slow in producing new work.
Clay is a fantastic, soft flexible medium. If a piece is not working for you, you can reclaim it before it’s fired. So nothing is really lost. And maybe some ghost in the previous work finds itself adding to the work to come. If she is feeling blocked, Beardall simply rolls newspaper into shapes and ties them with masking tape to solidify a form. Other times, inspiration may be a rough sketch of an animal. The best way to move forward is to just start making. And if it’s not working, smoosh it and start again.
For Colette today, the most difficult part is starting. Bur near the middle of the creation process, she engages. Previously she really disliked glazing because it so often can take away from and ruin a piece on which you’ve spent a long time. But she has refined her method and now is excited by her new technique. She began using lots of clay slips, engobes and oxides to colour the clay and then firing it to higher temperatures. She finds this method is great because it makes the work stronger. Beardall is also known as a raku artist, but it is a low firing method and the pieces can be delicate.
Clay is a medium where you will never know everything and of course, in her opinion that is a great thing. It is a lifelong adventure of learning.
Every sculpture Colette makes will have a different emphasis and motivation, but animals are one theme that she returns to often. She quotes her hero David Bowie. ‘I don’t know where I’m going from here, but I promise I won’t bore you.’
As a self-taught sculptor, Colette Beardall has taken workshops in every aspect of the medium – except sculpture strangely enough. From throwing workshops to hand building classes and glazing studies, she feels that she always comes away with some kernel of new information. She advises her own students to learn from many other teachers. Each will impart something unique, and some will speak to you more personally than perhaps another. Read on the subject. Working in clay requires many steps. Practice, practice, practice. If you are doing figurative sculpture, devour a good anatomy book.
Shirley Lawrence was a a go-getter and a generous Ottawa artist as well as a top-of game-sports enthusiast. She died peacefully in April, and the NCNS wishes to honour her memory with this tribute. She dedicated her life to her husband and family of 4 children, 8 grandchildren and 1 great-grandchild. She somehow managed to fit in her love of competitive sports and clay sculpture. Described as tenacious, she taught tennis, badminton, squash and pottery classes for many years. She was one of the first women in Canada to obtain a very high level of coaching in squash, won awards and commissions for her clay sculptures and was the oldest player at the pickleball club! She also loved hiking in nature and gardening in her own English flower garden.
Shirley Lawrence emigrated with her husband Peter from England in 1962. Looking for some fun after the birth of her fourth child here, she was introduced to working in clay. She needed something to make her smile, away from more serious matters. She began making whimsical dragons and elves.
As she developed her skills, she attended many courses and workshops including the School of Fine Arts, Algonquin College, Haliburton School of Fine Arts, Nepean Visual Arts Centre and with Mary and Roman Schneider.
She developed a passion for sculpture, and is well-known for her humorous characters in ceramic. Her keen observation of facial expressions led her to depict droll clay sculptures of humans and animals, captured in expressive moments of action or contemplation. Her pieces were often inspired by observing the work of others in various media. Her depiction of The Chief was a favourite of hers. Her love of dance is depicted in her Dancing Woman sculpture.
She also taught pottery classes. One of her former students was delighted by Lawrence’s course: “I stumbled into pottery because a friend took a course in hand building and encouraged me to try it. I had a phenomenal teacher, Shirley Lawrence. It’s like baking, rolling dough and you’re playing with your hands making mud pies,” she jokes.
Shirley Lawrence was a member of the Ottawa Guild of Potters for many years and contributed to the sculpture exhibitions with the National Capital Network of Sculptors. She and her husband Peter were the very generous hosts of a yearly BBQ at their property on the shore of the Ottawa River, but Shirley Lawrence also donated her energy and time in helping in the Children’s Wish Foundation, Heart Institute, Food Bank and other charities. She remembered the hard times of her early life in England.
Shirley Lawence lived a full and adventuresome life, always active, always learning, and always meeting new friends.
Since his early years, Jim Lawrence has been enthralled by nature, camping in the wild and loving the forest and ocean near his hometown of Halifax. Rocks, plants and animals all drew him and he drew them in return.
He always enjoyed crafts -modelling clay, papier-maché, drawing and colouring, water colours, model airplanes, mecano sets, construction blocks. But he especially loved to carve wood. As a youngster, he always carried a small pen-knife and whittling branches occupied his hands and mind.
In grades 7 and 8, boys were required to take Industrial Arts. Classes were split between wood working and metal shop work, where he learned to use the basic tools and equipment for both, but was happiest working in wood.
As an adult, he began painting courses, working in oils and acrylics. Over the years he tried basic courses in clay/ceramics, soap stone/plaster carving and several wood carving courses. Again, he was happiest working in wood.
The evolution of his desire to do wood sculpture gelled only as he approached retirement about 18 years ago. That is when he began serious wood sculpture, to challenge himself and fulfill his basic desire to create.
Lawrence pursued engineering at Royal Roads Military College in Victoria and later Royal Military College in Kingston where he switched to chemistry after his third year. He completed his studies at Dalhousie University in Halifax where he earned a PhD in Environmental Analytical Chemistry. During his time at Dal, he returned to his love of art, joining evening courses at the Nova Scotia College of Art, and later in Ottawa where he moved to pursue his scientific career. His curiosity and creativity led to a fulfilling career as a research scientist and it is this same curiosity and creativity that drives his artistic side today.. As a scientist I would always explore better ways to accomplish a task.
Lawrence considers himself lucky to have lived a year in both Amsterdam and Paris. They were wonderful opportunities to soak up the art of the masters and he visited every art museum those cities. In Amsterdam he loved the Dutch Masters and the work of van Gogh. In Paris he was drawn to the Impressionists at the Musee d’Orsay. The work of Salvadore Dali also continues to inspire him.
Like most artists, Lawrence’s creative process is driven by inspiration. The source of inspiration may be in the works of other artists, photos in print and nature itself. His broad interests sometimes lead him to create in many genres from realism, figurative, surrealistic, abstract to expressionistic pieces.
He especially enjoys carving ‘found’ wood, like suggestive tree stumps, roots and partially decayed wood, where the spark comes directly from the wood itself. Even when he starts a piece with a certain idea in mind, he is quite content if he ends up in a different place. Through the process, he may envision a different endpoint and makes no hesitation to change direction. As he works, the wood changes form and texture as different wood grains appear. That is the fun of the creative process– you often never know where you might end up!
The process is very important to him. He needs to enjoy it. So, hand carving in his studio while listening to enjoyable music is perfect for him. Time has wings. He dislikes using power tools because of safety issues, noise and dust creation, but accepts that these types of tools are necessary from time to time.
Lawrence wants to surprise and challenge the viewer with his creations. It might be a hanging baseball hat, an egg balancing on a finger or an abstract piece depicting the relationship between man and nature. Much of his work reflects the issue of human relationship with nature. His pieces pose questions about that relationship rather than offering opinions or answers.
With his curiosity and research background, Lawrence constantly experiments. He plays with different types of wood. Sizes may range from a one foot tall wall hanging to an eleven foot outdoor sculpture. He plans to integrate new materials such as metal, glass, plastic into new pieces.
Wood carving like stone carving requires some basic skills. So for a beginner, one needs to develop these to enjoy an expanded wood sculpture process. Jim Lawrence suggests that taking courses is a big help. Tools must be of good quality and chisels, gouges and knives must be kept sharp. He teaches wood carving at the Ottawa School of Art and sees that the biggest impediment to enjoyment is the use of dull tools.
Of course, his biggest recommendation is to do what you love.
Sculptor Béla Simó’s journey began in Transylvania, Romania where he studied industrial millwright and fine instrument making and repair. From a young age, Béla was strongly influenced by his father. Disillusioned by communism, his father inspired his children to make their own decisions and not rely on dogmas. “His rigour, his quiet strength and his integrity had a major impact on me,” recalls Simó. However, at the age of 25 he left the country on a visitor’s visa intending to illegally cross into Austria. “I tried to pass five times before I was able to cross. The border was guarded by armed Russian soldiers. Many people did not have my good fortune and were shot or beaten to death’’ he explained.
In Austria, he carved. Seeing the work of master sculptor Josef Elter’s monumental wood and stone works changed Béla Simó’s life direction. Elter took Simó under his wing and taught him the art and passion of carving and sculpting wood and stones. Simó’s year as apprentice began his 36 years of sculptural experience in materials like plaster, wood, marble and resin.
He immigrated to Canada in 1987 touching down in Toronto, then Yukon, Newfoundland and finally in Val des Monts, Quebec in 2013. He started his first art bronze casting foundry in Yukon. Simó moved to Val-des-Mont where he built a studio and started working in aluminum for a commission from the Yukon Workers Compensation Board to commemorate worker deaths. After the six metre tall monument was completed, Simó used the leftover scrap aluminum to create simple sculptures. That’s when he fell in love with the material. It’s malleability was like butter to him.
He was fascinated by the possibilities of this lightweight, solid and contemporary material that allowed him to convey his vision with stylized, refined lines, shapes and energy. His works in aluminum demonstrate his fine technical skill. The intense brightness of the metal complements his creative vision. He found aluminum to be the perfect medium for combining his simple forms with the chaotic forces of the modern world. He stylizes his unique human subjects, striving to bring them life and movement. The more he worked in that medium, the more complex the sculptures became. He added textures to bring them more life. He is always seeking to improve the form and composition, most important to him. Two symbols recur in Béla’s practice: Closed eyes which represent inner thoughts and feelings and Hands which represent action and achievement, expression and creativity. They are symbols of humanity and the quality of our inter-relationships. Hands and faces reveal how we relate to the world and to others.
To achieve large-scale aluminum sculpture in no simple task. Béla cuts sections from sheet aluminum and bends them to need. He then combines strips and pieces together to construct smooth surfaces with invisible welds. For example, a small face would incorporate over 23 pieces seamlessly welded together. He grinds the welding marks, then chisels them with a pneumatic or manual chisel/hammer. The process continues with more grinding, deburring, brazing, hammering or polishing until the piece achieves the desired effect. Texture may be added by hammering, scratching, brushing and rotary tool. He may also add welding marks without using gas. Layers of welding help create volume or render details such as a nose, lips or eyebrows once sculpted. Sometimes he uses welding impasto to create textures. Finally the piece is cleaned with acetone and waxed.
He loves to see the form change as concepts evolve and he gives physical presence to an idea. When Béla imagines a new creation, he challenges himself to enliven it. Sometimes finding new ways to meet that challenge. When creating, he enters a creative funnel toward his goal. Thus, his least favourite part of his sculpting process is the end when he returns to the reality of daily life.
Simó’s desire is that viewers establish a personal relationship with his sculpture through the stories of their own experience. Even if aluminum is a rigid and cold metal, Simó wants the observer to feel fluidity and warmth emanating from his piece.
Béla Simó sees his art as ‘’imprints of humanist spirituality, tinged with the sacred, a way of defining his relationship to a space, real or imagined, and to time, to what precedes and follows us’’. He uses a lot of upward spirals, ubiquitous in the structures of the universe, from the infinitely small to the infinitely large. For Béla, they are the best symbols of life and remind us that they are found both in motion and in completion. The egg and seed are other oviod motifs, spaces in which life circulates. They represent birth, oneness and centre.
He has no plans for the future, only wanting to speak the truth in his artistic expression. His work needs to be meaningful to himself, not following in others’ footsteps, even though he is following his mentor’s desire and mission to fill the world with beauty and humanism.
He advises those who are first drawn to sculpture to choose art if it is their passion. ‘’Believe in yourself and don’t underestimate the expression of your imagination. When you are learning to make sculpture, find the appropriate teacher or mentor to deepen your understanding of the metier.’’ What sets Béla Simó’s pieces apart is the combination of his understanding of sculptural form, his artistry and mastery acquired during his technical training.
Béla Simó’s work can be found in many permanent and private collections and he has shown his work in countless exhibitions and public art in Canada and abroad.
Pourquoi (2018) welcomes the visitors at the entrance of Béla’s studio and sculpture garden.
3,10 x 2,20 x 0,60 cm. The address is 1375, route du Carrefour, Val-des-Monts, Qc, J8N 5C5
phone: (819) 328-3380
Gossypium (2021) was recently exhibited at Centre d’art de La Sarre (La Sarre), Espace Pierre-Debain (Gatineau), Centre Materia (Quebec City) and Quebec Fine Crafts Fair (Montreal) as part of the Triennial of Fine Crafts. 2,45 x 6,60 x 6,60 m
The Watchers – triptych (2019) were exhibited in Bela’s solo show at the Espace Pierre-Debain,museum gallery (Gatineau). 2,43 x 1,10 x 0,60 m each.
Dance with me (2022) Béla’s most recent creation. 2,54 x 1,27 x 1,27 m
The National Capital Network of Sculptors (NCNS) Spring Sculpture Show has arrived!
In collaboration with The NAK Gallery we are presenting our group Spring Sculpture Show April 7-10th. We are very excited about this opportunity to showcase the work of our sculptors in this group show and the opportunity to reach a new group of collectors and art enthusiasts. More than 20 NCNS members will showcase their works. The NAK Gallery is located at 1285 Wellington Street West in the heart of Westboro.
Drop in and meet the dynamic NAK Gallery team! It’s going to be a great show!
Thursday, April 7th, 10:00am to 5:00pm Friday, April 8th, 10:00am to 9:00pm Saturday, April 9th, 10:00am to 4:00 pm Sunday, April 10th, 10:00am to 4:00 pm
“The National Capital Network of Sculptors is a non-profit corporation founded in 1984, with a mandate to increase awareness and appreciation for the sculptural arts in the National Capital region. It draws its membership from a wide artistic community in the greater Ottawa area, which consists of both professional and talented amateur sculptors. Our member’s work ranges from figurative to abstract to installation art and incorporates such mediums as glass, stone, wood, bronze, steel, plaster, clay and mixed media.”
“The NAK Gallery was founded in 2020. Located in the heart of Westboro at 1285 Wellington Street. the gallery is erected in a bustling neighborhood where small cafes, shops, boutiques and people are on the lookout for new things, various arts, culture and the desire to share their discoveries. A cute and trendy area of Ottawa! Our mission is to showcase and promote contemporary visual artists from Canada and around the world to visitors and residents in the National Capital Region.”
Carolyn Sandor-Weston hails from the small northern Alberta town of High Prairie. In the 60s, the town bloomed as a destination for immigrants of many nationalities, joining the First Nations residents in surrounding reserves and bringing together a unique mix of multi-ethnic languages, beliefs, and ideas.
Being the daughter of immigrant parents and her early childhood years in High Prairie widened Carolyn’s perspectives and taught her to see the world with more empathy and feeling. Carolyn’s taste for world travel grew from this multitude of cultures and she has travelled widely before arriving with her husband and family in Ottawa in 2004.
Sandor-Weston’s art began with poetry and prose, filling books with her writings. She went on to discover photography, wanting to capture atmosphere in the images, as do her words which create an image in one’s mind. She entered the Alberta College of Arts in the 80s by way of her photography but was seduced by the drawing and printmaking in those fine arts departments. Here, her two-dimensional work used all variety of media to create impactful pieces. It was during this time that Carolyn realized that she was trying to express a story with her art. Today, her art is still about story telling, whether in carved stone or acrylic painting. They are reflections of how Carolyn feels and sees the world.
During printmaking studies, Carolyn became enthused by the lithography process of etching on stone slabs. The resulting prints were not what excited her, but rather the etched stone. Her life has always included stone, from photo images to collecting stones and pebbles. She soaks up the energy they bring her. One Christmas a gift from her husband transformed her pockets-full-of-pebbles to a 25pound soapstone ready to carve. Rasps, rifflers, chisel, and mallet soon followed. Sandor-Weston’s artistic perception has guided her carving from the start, allowing the stone to tell its story and inspiring her creative energy. She sees carving as a trusting dialogue with the stone.
Her first carvings were of soft Brazilian soapstone, but she has expanded her work with harder Quebec soapstone and is experimenting with white alabaster and translucent selenite. Bones, antlers, fur and gut, all gifts from family and friends that were collected during hikes, have found homes in Carolyn’s sculpture creations. She is now playing with bases for her sculpture and is very excited about carving bone and antler, an exploration for the coming year.
Carolyn begins her carving process through feeling the stone, first softening edges with a rasp, talking to it and creating a relationship with it. She is searching for the direction that the stone pulls her. nce she has decided her direction, she uses rifflers, small hand files, and chisels to cut away. For small delicate work, Carolyn uses dental tools. Pins and epoxy may be used to set antlers or bone. Once the image starts to reveal itself, she observes the whole stone, taking time to identify the flow of the form. The movement in the finished piece is vital to her. She wants to feel that form, such as a bear’s swayback and belly.
The free-flowing process of carving is what she loves best. ‘’Just trusting the stone and letting the stone guide you –it’s almost like breathing. Or maybe like surfing …You just go with the stone and enjoy the ride.’’ Carolyn delights in the intricacy of details, adding little surprises, like a beautiful wattle on a thick, sagging bear’s neck, or the expression on a face. They are moments of beauty where the eye can linger. ‘’Of course, the final denouement comes when I rub wax onto the stone and all its amazing colours come to life.’’
To achieve high polished stone requires hours of wet sanding, starting with 400 grit and slowly moving up to 3000 grit. This process can take her six to ten hours depending on the size and detail of the carving. Her love of detail requires extra time working the crevasses and grooves. After sanding, the stone is heated and then buffed with wax for a deep shine. Whether to apply a base is her final consideration when observing the finished stone.
Carolyn’s inspirations often draw from her childhood in the north, in particular her relationships with Indigenous communities’ folklore. She respects the continuity of storytelling and lessons.
When living in Australia she felt honoured to sit in a dried riverbed with Aborigine companions listening to their stories, symbolism, and history. For many Indigenous peoples, animals represent the land and the evolution of the human story. Sandor-Weston appreciates this interconnection, often the basis of much folklore. This is why animals and humans find their way out of her stones. Employing antler, bone or fur helps to evoke the story that the earth melded in the stone and brings to life a unique connection for the viewer. She wants to further explore this connectivity that humans share with animals and the land. She respects the Indigenous community and does not want to be seen as infringing on an area that some feel she should not occupy. As she moves forward, she believes that she needs to consider this in her future work.
Carolyn Sandor-Weston is a member of the National Capital Network of Sculptors.
For beginner soapstone carvers Carolyn’s recipe is:
Start with a small piece of Brazilian Soapstone, a couple of rifflers, one good rasp, a respirator and just play!
As a youngster in Windsor Ontario, Rosemary Breault-Landry had tasted the infinite possibilities of art in two and three dimensions through colour, form, gesture and tactile expression in many media – paint, clay, canvas and paper. Along with art, her love of cottage life and the shore of Lake Huron remains part of her psyche.
Her art interests were sidelined when she began nursing training at the Hotel Dieu Hospital in Windsor. At the time she took up her vocation as a registered nurse, she met her future husband Ken at the University of Windsor. After completing their degress, the newly wed couple moved to Quebec City where he could further his studies at Université Laval , and RBL joined the nursing staff of Jeffrey Hale Hospital. Their first born arrived three years later. Life was busy for her – working full time and eventually raising two children.
Once the kids were in grade school, the routine had been established and Rosemary was able to take art classes at local art centres.
Her sculpture instructor Yvonne Dorion was from Montreal’s UQUAM. Dorion opened RBL’s eyes to this new experience and encouraged her to get serious about art and enroll in a professional art school. She began with a 3-week summer courses at OCADU in Toronto to fulfill her desire for figurative art. She loved her experience there – the teachers, students and inspiration that was ever present. At age 35, after taking several part-time credits, Breault-Landry wanted to continue her studies in earnest. A family discussion ensued with her husband and two kids, who encouraged her. ‘’ Go for it Mum!’’ She realized that art expression was where she felt most at home and graduated with honours in 1992.
In 1996, she retired from nursing and followed her art muse. She began by teaching figurative drawing, sculpture and mould making at the Maison des métiers d’arts in downtown Quebec. With her knowledge of clay sculpture, she was asked to demonstrate and comment on Rodin’s clay modelling techniques during the 1998 Rodin Exhibition at the Musée des Beaux-Arts in Quebec City.
After moving to the national capital region in the Outaouais in 2007, she has continued teaching at the Ottawa School of Art in Orleans and connecting with fellow sculptors. She has set up a studio for making her sculpture, moulds and developing patinas to finish her bronze and hydrocal pieces. Multi-tasker, she also took on the presidency of the National Capital Network of Sculptors between 2009 and 2011. She continues to participate in many sculpture exhibitions and galleries since 2000.
In her art experience she observed the work of sculptors from Michelangelo and Rodin to Giacometti and Henry Moore who have interpreted their visions of the essence of human body and spirit. Realism continues to challenge post-modernist artists. Drawing and sculpting fellow humans allows her to explore the complexity of sculpture – the physical, emotional, intellectual and spiritual planes, and of course the effects of gravity. Each gesture and movement in her sculpture attempts to communicate our common humanity to the observer. She is a spontaneous teacher telling her students that ‘‘Drawing from live models is the key to comprehending form and movement as well as anatomy and expression.’’ RBL believes that success in this domain will reflect immediately in sculpture.
RBL’s bronze sculptures are made using complex technical procedures. They include ̈making rubber molds, plaster ‘mother-molds’ over the clay, and layered Aquaresin processes. Her favourite time in the process is the start of a piece, especially with a live model, when she considers the most appropriate pose for the feeling she wants to convey. Then when adding clay to the piece, observing the interesting movement of lines she considers to be great fun. She also enjoys applying the patina at the end. Remember that she started out as a painter, and loves colour. RBL says that the passion for it keeps her young at heart, and her enthusiasm is testimony to that!
She has sculpted many public and private commissioned works which demonstrate her talents, some of which you can see on the Sculpture Ottawa Facebook pages.
You can feast on her many works by visiting her Facebook page and also her newest works at the Sculpture Expo, Pop Up Show this weekend at Lansdowne Park right next door to Goodlife Fitness. Sculpture Expo is open Thursday, October 7th to Sunday, October 10th from 10am to 6pm.