Once the final coat had been applied, the artwork was packed and dispatched for installation at Broomhill. It was great to finally see the sculpture in the environment it was intended for. The location in the grounds allows the work to be viewed from multiple angles, the white surface reflecting the dappled light beneath the trees and the surrounding plants.
I would like to thank the Broomhill team for their support to realise this work. If you are interested in receiving updates on future projects please visit, http://www.laurengoldie.com and leave your contact details.
Once all the preparations had been made, the carving process could begin. The piece was created in two halves, preventing damages and enabling the incorporation of metal work to stabilise the sculpture. To ensure the proportions were accurate, I created a basic outline of the shape before returning to finish by hand the depth and curvature.
When the shape was finalised, the holes were sculpted and the work finely sanded. I completed the foundation by applying a polyurethane hardener, preparing it for outside display and adding a final matt white coating.
In previous works, objects and projection were temporal. Drawings were the only remaining traces of these environments, illustrating their dramatic deterioration. Using highlight, shade and navigational lines, these drawings have helped to establish the three-dimensional structure for the Broomhill maquette.
Observing the impact of negative space in Manet’s Music in the Tuilleries, in particular the etching The Balloon and Michael Andrew’s Light series, I hope that the isolated shapes I have designed will make momentary projections tangible and persistent.