Soapstone Carving
SEPTEMBER 9-15, 2024 WILDACRES - WEEK 2
KEN VALKO - SOAPSTONE CARVING
Technique or process of most art forms may be taught; However, I believe the visualization and completion of a carving or sculpture are a gift and enhanced through experience. My process of carving starts by trying to visualize what I can see the rough stone could be. These first steps include looking at the shape, color, and if there are any fractures or inclusions that need to be avoided.
You will most likely start by using rough stone, you may want to try the same process or use some form of template or pattern to begin. Either way is correct. The artist will continually make judgments on the process and make corrections as they need. Let the stone tell you the direction it wants you to go. Size, shape, color and patterns in the stone are a few things to look for. I cannot tell a person what to carve; I may only help with the process. Keep work area clean. Dust masks are optional.
There are two methods in carving or sculpture. The one we will follow through with is the subtractive method. The other method is additive. When an artist constructs a sculpture using material by connecting pieces, such as welding, this is an additive method. One can also do a sculpture by casting a sculpture. Bas relit carving lets the object stand out while an Intaglio carving removes the negative area from around the subject. We will be removing the unwanted stone to reveal the object within. This is the above subtractive form. In this method please remember what is removed cannot be placed back. This is important when we start the sanding.
The first tools used will be the saws. A large crosscut saw is used to cut blocks from rough material to a manageable size or large area chunks. These cuts may end up being the bottom of your piece. Removing smaller areas and chunks will need other saws such as a hacksaw. Due to soapstone absorbing heat, the saws usually will cut without catching. I sometimes use just the blade with one end being wrapped with duct tape. This also allows me to cut out internal areas after drilling pilot holes in an area that will be removed.
Rasping will be the next step. A good concept of what the object will be has manifested itself. Rasping will round out edges and will help form organic rather than geometric edges and shapes. A 4 in one 8 inch rasp will do well; 2 parts are coarse and 2 fine sections. Two are half round and 2 are flat. Riffles are also used. Using riffles will remove material. Decide how much material to remove as you go. At a certain point I will use the fine file/rasp to smooth down the piece before the sanding. This will help me decide if I might want to adjust my piece to accentuate any part of the pattern or color.
SANDING, FINIISHING, POLISHING, MAINTANANCE
Continually try to visualize the finished piece. This will help your decisions on what else to remove. REMEMBER, what stone you remove may not be placed back. Allow enough material for the sanding stage to come, especially where there will be fine or thin areas such as points, fins and toes.
Sanding will require three stages, coarse, medium, and fine. All sanding is done with wet /dry sandpaper. Grits may vary based on how deep the scratches, rasp marks, and stone softness. The 150 or 220 for me is good to start. Then I continue to move to 320, 600, 800, and may finish sanding with 1500 or 2000. Often, I may go back to an area if I find saw or rasp marks that are deep. In all you do, let the tool and sandpaper do the work, and do not wear out your arms or fingers.
For polishing I have a large container of cold water ready. A block of Bee`s wax is nearby to melt on the pieces as they come out of the oven. I use a large toaster oven to heat the stone. The temperature will be between 100 and 350 degrees. The time in the oven will depend on the carving size, about ten minutes is good for smaller pieces... A fingered oven mitt is good to remove pieces from the oven. Wipe excess wax off before placing in the cold water.
Remove from cold water and buff with a soft, preferably cotton cloth. Through these stages be careful not to drop your work. If 1500 grit was last used, you should get an almost glassy finish; 800 will also be good as an antique or slightly satin finish.
Soapstone is a very forgiving material. If scratched, go back to sanding if necessary or just use a form of bees wax polish. If the scratch is slight, placing the piece in the sun and wiping the area will soften the wax and then it may be buffed.
Enjoy the special feel of the stone; Have fun turning a simple rock into a creation of wonder and beauty. Thanks for taking this class. Hope you enjoyed it
Carver Hound, Ken Valko
Lab Fee: $40
Est Materials Fee: $0-???
Prerequisites: None
Bio:
Ken Valko - Soapstone Carving
THE SMALL CITY OF JOHNSTOWN PENNSYLVANIA IS WHERE I WAS BORN, BUT GREW UP HUNTING AND WALKING IN THE WOODS NEAR DUNLO. AS A CHILD, AND AS I GREW OLDER, MY INTEREST IN ART CAME FROM A NUMBER OF EVENTS.
HAVING SOME MEDICAL PROBLEMS I WAS TAKEN TO JOHNS HOPKINS HOSPITAL IN BALTIMORE, MD. ONE OVERWWELMING EVENT IN MY LIFE WAS SEEING THE STATUE OF CHRIST THE CONSOLER, A LARGER THAN LIFE SIZE MARBLE SCULPTURE AT THE ENTRANCE TO THE HOSPITAL. THIS HAS GIVEN ME THE CONSTANT FEELING AND BELIEF OF A HIGHER POWER AND CREATIVE SPIRIT WHICH I NOW FEEL THE NEED TO EXPRESS TO OTHERS. I HAVE DONE THIS THROUGH MY TEACHING, AND NOW IN MY SCULPTURES AND WRITINGS.
THROUGH THE YEARS WE ARE CONFRONTED WITH EVENTS AND OPPORTUNITIES OF EXPERIENCING THIS SPIRITUAL CREATIVE QUALITY BY VIEWING A GREAT WORK OF ART. TWO OTHER NOTABLE TIMES I HAVE EXPERIENCED THIS CREATIVE SPIRITUAL QUALITYT, WAS SEEING ANDREW WYATHES [CHRISTINA`S WORLD], THE OTHER EVENT WAS VIEWING THE PAINTING, [ LADY IN THE ROSE GARDEN ].
AS A CHILD, MY BEDROOM WALLS WERE COVERED WITH DRAWINGS. THE POSITIVE REINFORCEMENT FROM MY PARENTS TEACHERS AND ESPECIALLY MY SISTERS, PROMPTED ME TO FURTHER MY ARTISTIC ENDEAVORS,
MY SENIOR SHOW IN COLLEGE INCLUDED A SOAPSTONE BIRD CARVING. CARVING THE BIRD FROM SOAPSTONE WAS REWARDING, THIS DIRECTED MY ATTENTION MORE TOWARD THREE DIMENSIONAL FORMS. AFTER A CAREER IN TEACHING I WAS LOOKING FORWARD TO WORKING ON MY OWN PIECES.
I BECAME EVEN MORE ENTHUSIASTIC TO BE CREATIVE AFTER TAKING A SOAPSTONE SCULPTURE CLASS BY SANDY CLINE. SANDY CLINE IS A WORLD KNOWN SOAPSTONE CARVER FROM CANADA. I MENTIONED TO SANDY HOW EXCITED I WAS TO BE WORKING ON SCULPTURES AGAIN, KNOWING THIS WAS THE MEDIA I WANTED TO CONTINUE TO WORK.
SINCE THIS CLASS I USED SOAPSTONE FROM CANADA, VIRGINIA, GEORGIA, CHINA, OREGON AND OTHER LOCATIONS. I WANTED TO KNOW THE PROPERTIES AND FEELING OF WORKING WITH EACH. BRINGING OUT THE HIDDEN OBJECT FROM A ROUGH STONE HAS BEEN EXCEPTIONALLY CHALLENGING AND REWARDING.
REWARDING ALSO HAS BEEN MY WRITINGEXPRIENCE. TAKING ONES CHILDHOOD EVENTS AND SHARING THEM IN HOPES THEY LEAD SOMEONE TO EXPRESS THEMSELVES CREATIVELY HAS ALSO BEEN A BLESSING.
I AM NOW PLEASED THAT MY WORK IN SOAPSTONE AND MY WRITINGS CONTAIN THAT SPECIAL CREATIVE SPIRIT. THE SPIRIT AND FEELING I HAD PASSING BY THAT MARBLE STATUE AS A CHILD.
MY MOTTO HAS BECOME ------" CHANGE WITH CREATIVITY’
CARVER HOUND, KEN VALKO