With so much restoration work to accomplish, we occasionally take a little time out to produce a few of our own exclusive artworks and make them available for purchase. For 2019 two copies of the Risen Christ statue (sculpt and poly chromed by myself) will be available. This statue is 38 inches (97 cm) tall and cast in plaster.
It is a new edition of an earlier model.
My vision for the Risen Christ Statue
Jesus has risen from the tomb, and floats above the stony earth.
His posture is heroic, and his gaze steady and re-assuring. His foot barely touches the ground, he is poised as in the crucifixion, and the nail wound visible. His white garments trail the ground as he ascends.
His right hand is turned in a gesture of openness, His wounds clearly visible. The fabric has loosened from his right shoulder, and a light breeze swells his mantle giving a sense of freedom and weightlessness.
His left arm appears tightly bound with fabric like the winding cloth of a shroud. He points to the wound in his side as though to say; " See and believe!"
Ordering a Copy of this statue
If you are interested in obtaining one of our "Risen Christ" statues in time for Easter of this year, orders and a deposit must be in by Candlemass - February 2nd.
We can cast our figures to order by special request, a lead time of two months is required for the casting and polychroming of one of our unique figures. Please contact us for further details.
(Easter Sunday 2019 is on the 21st of April.)
Days before we closed for Christmas break, I visited a church to refurbish the carved symbols on the altar. These were of the alpha and omega, with a Pelican in the centre, feeding its young.
The Carving of the Pelican was looking rather dull. It was lost in a sea of beautiful deep green marble. The story it was meant to tell had become unreadable.
The P.P. wanted to revive that story, so that he could better explain the Eucharist to the children.
The story goes something like this:
In medieval times, it was thought that the Pelican preened feathers from her breast until it bled. With her own blood, she fed her young chicks to ensure their survival.
The Pelican became a symbol of the Eucharist; Christ feeding the faithful with His own body and blood.
I might add to the story by saying "Strengthened and matured, the young birds find that they have the strength to leave the earthly nest and soar heavenward."
The source of this legend has been lost in time, yet it gave rise to the intriguing Catholic symbol we see in our churches today.
Plaster religious statuary is sometimes associated with substandard art. This beautiful 19th Century corpus which I've been restoring tells me otherwise.
Religious figures were often modeled for mass production by highly skilled sculptors. The fact that they were produced in plaster did not make the work less noteworthy artistically. The sculptor who modeled this figure would have studied anatomy inside and out. He/she shows great sensitivity in the modeling of the musculature and underlying bone structure.
However, commercialism can reduce quality, and I'll explain this further on.
In earlier times, both animal gelatin and rubber were used to make moulds for architectural and figurative pieces.
Gelatin, has a short shelf life, it breaks down fairly quickly, and as the gelatin deteriorates, so does the mould. Its ability to replicate sharp detail is reduced. In commercial terms, few replicas could be produced using this material. Because moulds are expensive and time consuming to make, commercial producers occasionally over-used rubber moulds which were past their best.
While first edition figures would retain all the detail of the original model, those produced using a mould which had lost it elasticity from over -use were substantially different.
I believe it is these latter figures which give religious plaster statuary a bad name. Hardly surprising if one hasn't had the opportunity to view the first editions.
There are still some good examples of plaster statuary which retain all their original details; though sadly, the commercial push to promote resin statuary means that fewer of these figures might be preserved for the future.
The corpus here is depicted with an open mouth, inviting us to contemplation of Christs last words on the cross, "Into your hands I commend my spirit... it is done!""
The figure is not a sentimental representation, but invites us to think deeply about the spiritual significance of these words for us.
It has weathered church devotions for over a century and a half, and hopefully now one hundred more!
I admit that I regard humble plaster figures with some affection. I am sure when God created plaster, he knew that it would serve to build up the church throughout time. Even though mass produced religious statuary has its faults, it did much to further popular devotion during the 19th Century.
Long may our beloved plaster statues continue!
The internet shop photo hadn't shown the greasy glob of goo which sat on his forehead. A candle stand had hidden the missing fingers of his left hand.
The all important "Heart" had been nailed to his chest at a jaunty angle.
Despite this, someone saw past the rash of problems - and brought him to us for rescue!
With all the old paint and goo removed, the statue revealed that it had been made from open grained low grade wood which split easily. We carefully pared down the front of the mantle so that the heart would sit comfortably on his chest .
With these two alterations, the figure immediately took on a more dignified appearance.
The next remedy was to carve some new fingers. We used a denser wood than that used for the figure, and spliced these into the palm of the hand. as shown below.as
This statue of the Sacred Heart was intended for a church sanctuary. As we were also restoring the figure of Our Lady for the same sanctuary, I designed a motif which would suit both figures, to give them unity.
Below is the finished figure (photographed at my studio) with its new look complete.
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