Peter Forester – Analog Artist Digital World

On Saturday August 3rd, I went to the Albin Polasek Museum and Sculpture Gardens (633 Osceola Avenue, Winter Park, FL) to watch sculptor Peter Forester create a mold from the classical portrait bust he had sculpted in clay using a live model in just six hours several weeks prior.

The clay sculpt was transitioned into a “waste mold,” Plastic shims were shoved into the clay sculpture dividing the bust in half. Peter then mixed plaster in a bowl and he flung it by hand onto half of the sculpture. Plaster spattered everywhere in the process, even onto my boots and sketch pad as I worked, Once a plaster layer had hardened, he then build re-bar supports around the sculpture to make sure that the plaster mold he was building would not break apart. Then he kept building up the plaster mold gradually with many messy layers of plaster.

Peter said: “The clay model is only a means to an end; it represents the concept that the artist is striving towards. For this purpose I think it is essential to employ an intermediary step that is no longer used, to put the clay into plaster. The plaster will embolden mistakes not seen in clay, which the artist may correct before attempting to complete the master; hence the final product is the ‘master piece’.”

Once half the sculpture covered in a thick solid mass of plaster, the process was repeated on the opposite side. When dry, the two halves were split apart. Then the gorgeous clay sculpture was destroyed as it was scooped out from the molds. That has to be nerve wracking to destroy a sculpture that had taken six hours to create. The insides and seams of the mold were then coated with a non-stick surface. The halves were then bound together and a thin layer of plaster was poured inside. Peter kept the mold in motion being sure plaster filled all the negative voids. This hollow plaster piece was the masterpiece which a foundry would use to create a final bronze pour.

What followed was insanely difficult work. The mold couldn’t just be pulled apart. Peter had to destroy the mold, chipping down and trying to uncover the plaster master he had just created. Only a thin layer of blue plaster warned him when he was close. This was back breaking work and chips flew everywhere. The model for the sculpture, Byron Walker, is also a sculptor and he happened to have an air powered chisel in his truck. Peter let Byron chisel his way down to his own face. The air chisel was insanely loud like a jack hammer. A small gouge was taken out of the nose but such minor dings could be repaired. It took several hours to chisel away all of the plaster mold.

“The urge to destroy is also a creative urge.”

―
Pablo Picasso

On Saturday July 13th, Exhibiting sculptor Peter Forster presented a six-hour art demo at the Albin Polasek Museum and Sculpture Gardens (633 Osceola Ave. Winter Park FL). The five dollar special demonstration was titled: “Sculpting a Classical Portrait“. I arrived right at 10am and Peter was packing white clay onto the armature. He is one of the exhibiting artists in the “Start to Finish” Florida Sculptor’s Guild exhibit at the museum through July 21st..

I had made this the first stop on the Orlando World Wide SketchCrawl. There was a second floor balcony looking down on the sculptor and I decided that this “God’s eye view” would work best for a sketch. Perhaps ten to fifteen people sat around the room watching Peter work. Pete’s daughter pointed out that there were pencils and paper should anyone want to take notes or sketch.

When Peter opened the floor for questions, I shouted out, “Is it possible to finish a bust in six hours?” Peter replied that if the muses were willing it would be possible. If he started thinking about needing to impress someone then the process would get bogged down. He has a friend who is a conductor, and anytime the orchestra goes off tempo, the conductor would raise his hand to his heart. This would bring everything back on tempo.

To start Peter was concerned with the large masses, not details. He stuck a wire through the mass of clay to find the placement of the ears. On a pad nearby he showed us how measurements from that central ear placement helped define the profile of the sculpture. The model was a sculptor himself named Byron Walker. Peter likes when the model’s turn their head. This creates interesting shapes in the neck do to the twisting of muscle and fat. He focused on a “keystone ridge” above and between the eyes. With that defined a likeness was already imminent. One person asked why he didn’t have the hair in place yet. He responded that the hair was only the icing on the cake. The journey is what matters not the final destination. He likened a sculpture to a sketch and said he had to wait for that, “Ah ha!” moment when the model’s true natural gesture shined through. I’ve felt this moment sketching people on location so I knew what he was relating.

Since there were other stops on the SketchCrawl, I had to leave before the sculpture was done. When I got downtown however, I realized that I had left my artist stool in the sculptor’s studio. I had to go back. I was shocked at the progress when I returned.