I finally finished this terrifying goat foot candlestick!
I started it in 2015, at our first apartment in Berlin.
I had seen something similar on some luxury housewares or design website, and I was like, I can make that! Plus, it’ll be great sculpting practice!
It’s built on a tall narrow glass caper jar, the lid of the caper jar, tin foil and wooden rings from the craft store.
It was months before our stuff arrived in the shipping container, so I used what was around!
Once I had built the base, I had to cover it with fur.
Each row of fur tufts has to harden before the next one can be sculpted (unless you want to be really careful, and I never manage to be careful enough; I always wind up squishing what I just laboriously sculpted). So eachtime I worked on a project that usedepoxyclay, I would save a little bit at the end to add a row of fur tufts. There are roughly fourteen rows, so that’s a lot of projects!
Once I added the last row of fur last night, I started a new project.
I bought this rococo mirror* made of some weightless extruded foam plastic during my art supply mission on Saturday.
I used a glue gun to quickly affix the bugs and flowers and fill in any space between them and the frame. Then I did a first pass with epoxy clay.
I used it to reinforce the attachment of little legs (it’s very strong) and sculpt new curlicues to incorporate the bug shapes.
When we get a warm sunny day I’ll hit the whole thing with white primer for plastic (which I finally found here, in the excellent DupliColor brand) so I have a uniform surface and can add detail better. Then add paint and Swarovski crystals!
One of the wonderful things about epoxy clay is that you can apply it directly over practically anything, including baked polymer clay, like the mantis.
You can read about the start of the mantis here, and you can read in great detail about my experience beginning to sculpt and learning to use epoxy clay here.
It’s so much easier to work on the hair of my Diana bust now that I’ve had all this experience making fur!
I’ll keep you guys posted on the process of all these projects, unless I get derailed by some new obsession and they go back in the queue!
While I was painting the goat foot with many layers of metallic paints, I mixed up too much blackened gold-umber-bronze.
When the only tool you have is a brush full of bronze paint, everything looks like it needs to be painted bronze. I changed the zombie hand I resculpted at Halloween from glitter black to bronze and FINALLY dry-brushed highlights onto the ram’s horn mirror I bought for our hallway before we left the US. Always be finishing!
*You can see the reflection of one of Daria’s drawings in the mirror, from one of our earliest art trades.
I gave this one ombré wings and I could not be more pleased with how it came out. It is some hella jolie laide hanging in our hallway.
That bit of nonsense out of the way, I moved on to more nonsense. Note D’s childhood friend Dailee below- everyone visits Berlin!
I made Leaf Crowns!
I got the materials to make these a couple of years ago. I don’t know why I wanted to make leaf crowns so much.
I guess I figure people can wear them when we finally have a Summer Solstice dinner party that uses all my leaf majolica, like maybe next year.
The crystal leaf crown is made of floral-wired plastic leaf beads and opalescent and iridescent Czech beads, padded with the last of my vintage green velvet from Aimee’s grandma’s garage fabric hoard.
Action figures come in a variety of scales, from 3.75″ to 8″.
The classic Star Wars figures, for example, are 3.75″. Lots of really nice figures are in the 5″ and 7″ scale, which is EXTREMELY frustrating for me. Sometimes they finally make a character I’ve wanted a figure of for years- but it’s just not quite in scale with my dollhouse.
However, a creative solution can often be found, using action figure customizing techniques.
The amazing Sin City figure of Rosario Dawson was part of a set given to me as a gift by my friend Devon. I love Rosario Dawson, so I really wanted to get her into my dollhouse.
Using my mini-hacksaw, I reduced her height in the two spots that usually work best, neck and ankles. Then I sculpted new soles for her shoes to balance her and on-trend spat-style half-boots to reinforce the cut-down ankles. Now she can join the party!
The 5″ scale T-800 figure was a gift from a beloved friend-muse-patron. I could have bought a McFarlane or Movie Maniacs endoskeleton and scaled it down, but this one is special ’cause it’s from a loved one. So I extended the torso, knees, ankles and hip joints. I also lengthened the calcaneus bones to make the feet more stable and in scale. In the picture you can see how the rebuilt hip joint is drilled out for the new pegs.
The Alice figure from the ’00s movie was beautiful, but I didn’t like the way she was posed. Her arms folded behind her back looked disempowered to me.
So I removed them and reposed them. In this picture you can see I’m building up the new sleeves in layers.
I like to use thin layers to do fine detail in epoxy clay. Then I just had to paint the sleeves and she was done!
The motion-sensitive talking giant terror grasshopper is from Bug’s Life, a Pixar movie made just for me ENTIRELY ABOUT INSECTS that came out in the late ’90s. It didn’t prove as enduringly popular as movies about toys or animals, for some reason.
The thin plastic mounting of the screw that attaches its right leg had broken, so I repaired it by packing the hollow hip joint with epoxy clay and resetting the screw in that. When my husband saw it on the worktable he said, “WHAT the hell is THAT?!” In my perfect world, everything I own, touch or build would inspire that reaction.
Frame for Daria’s moth drawing!
As I mentioned in the art collab post, I traded Daria an embroidery moth for the original of this beautiful scary drawing.
I wanted to make a frame that really honored how much I love the drawing. I started with a laser cut filigree wood frame. I used a 69-cent clip frame for the glass; I cut channels out of some strip wood (using my dollhouse trim miter cutter) and hot-glued them to the back of the laser cut frame.
Then (after spray-painting the frame with Dupli-Color Platinum) I placed the artwork over the glass, put a piece of heavy watercolor paper behind it to protect it from any acidity or anarchival agents in the backing board, and clipped the clip frame back together. The frame fit neatly in the wooden channels and I could hot-glue it in place without any danger of touching the artwork.
BTW, Dupli-Color Platinum Spray-paint is my new boyfriend. It is SICK.
I hate weakness and entropy, and I was concerned about the structural strength of the delicate top piece, so I added a reinforcing channel of picture wire. I also used both hot glue and UHU universal glue, so that there’s a backup if one fails.
Then it was time to decorate the frame! I’d had the Art Nouveau woman’s face since I was fourteen or fifteen, knocking around in little boxes on my dresser. I love hand-applying Swarovski crystals, like the jet ones here. It’s the most bang for your meticulous-obsessive handwork buck ever.
I got this lampshade at the Anthropologie in Kansas City in like 2002. I was there with my second husband for a daguerreotype event. I carried it home on the plane, pretending it was my hat. Of course I enhanced it with lots of bead trim.
It appearsinsomany of my paintings; I couldn’t bear to leave it behind. But European lamps not only have different plugs and (sometimes) bulb fixtures, they have a different way of attaching lampshades.
US lampshades use a finial and harp system attached to the lamp base, whereas here the lamps have a bracket that attaches to the bulb housing. So I bought a European floor lamp with shade, stripped the fabric and wire hoops off the shade, bent the bracket to size and attached the lampshade to it using ribbon scaffolding and lots of hot glue. I spraypainted the lamp base itself Sapphire Blue with Duplicolor.
I had saved a tutorial on how to do this conversion on my “Moving to Berlin” pinboard before we ever left, but of course when it came to it I never referred to it, I just figured out a way to do it.
My first husband once saw me constructing a sphere for a topiary out of styrofoam rings and scraps. He asked why I didn’t figure out how to do it with math rather than eyeballing everything and sort of jamming it together til it worked. I said, because then I would have to stop and do something that wasn’t actually doing it before I could do it. I’m like a shark in so many ways.
Remember this guy?
I find sculpting the hairy fur tufts of the goat’s ankle for this goat-foot candleholder to be very tedious, so I’ve been working on it very slowly, whenever I have a bit of usable epoxy clay left over from some other project.
At this rate it should be ready for painting and gold-leafing around 2018.
Black and white bug shadowboxes!
I sculpted these moths out of cold porcelain and collaged them with newsprint. I made a small edition of them as gifts for my Patrons, with a few extra for this project.
Both these boxes are lined with leftover fabric from my wedding dress. Monique Motil, the amazing artist who made my dress and accepts only the most creative costume commissions, is always thoughtful about returning every unused scrap.
The black and white bug brooch box is the sibling of the ones in the salon- it is the only one not made to coordinate with the salon color palette.
I think that’s it for this month, other than some random framing and hanging projects.
Update: I forgot this bug-covered lampshade. You can see it in its undecorated state on last month’s bricolage roundup.