After somehow lifting an 80 lb. bag of cement into my car (with the help of getting a second bag from Dustin DeMilio, thank you for the help I don’t think I could have lifted another one alone) brought it into my studio and casted the form for the shrine portion of my piece.
Then after careful preparation (wearing gloves & respirator), taping down the forms that would become the negative of the piece and spraying the inside of the mold with silicon, I began the mixing. Man does it take a lot of energy to mix cement, was not an easy task. After about an hour the piece was all poured into the mold that I left for a week to cure. Thankfully cement is caustic so the fact that my water to cement ratio may not have been 100% accurate did not ruin the mold.
Returning after a week of letting the piece sit, at first the piece did not budge but after a bit of nudging with a mallet the piece separated from the mold. The glass forms were not easy to remove and had to be smashed with a hammer. All and all casting cement was not as impossible or difficult as I thought it may be and love how the piece came out.
The head pieces for the dancers was tricky to conceptualize. I wanted the pieces to be light visually and physically and have a unit like multiplicity, the triangle form worked perfectly. At first I wanted to use copper, but the metal was to hard and I was worried it might hurt the dancers when then were wearing and performing with it. I decided to use vellum paper because it had a nice translucent quality but was durable when put together in units. This is one week in.
Last week I added the copper leaf to the inside of the cement bowls.