SCULPTING THE FULL SIZE MONUMENT

...as a public art piece it is, visually, extremely strong. The materials being used and the interactivenature of the sculpture will make it a very great asset to public art...
Melanie Fernandez, Community Arts Officer, Ontario Arts Council

This page is under construction. It is still an interesting place to visit, so enjoy.

A remarkable - talented, passionately and compassionately committed international team of 14 professional sculptors worked over a two year period to transform the three hundred quilt squares into the large "Reaching Out" Monument.

Together the figures measure over 10 feet tall by 30 feet wide. Quilted bronze shawls reach to the ground and drape the arms and shoulders of the figures.

Sculpted Quilt Squares, each with some form of “hand” motif, are a major theme of the work and allow the Monument to be truly collaborative. Nearly 200 of these 300 quilt squares have been created by survivors of child abuse and their supporters. Each square depicts a detailed, life-size hand cast in relief, including the individual’s personal art work or writing. Hand outlines and messages of children are on 72 squares. A smooth bronze finish is left on 22 of the quilt squares to provide for perpetual visitor interactivity.

After each survivor/participant was finished sculpting their quilt square it took another forty hours for the professional artists to make molds, casting waxes and cleanup and fabricate each quilt square into the shawl of the "Reaching Out" figures.


Quilt squares on the Monument measure 10" by 10" and are from across Canada from Vancouver to St.Johns -- They are a voice of Canadians reaching out to make a difference in the lives of others.

The Unfolding of "Reaching Out"

Over a five year period a significant amount of inner thought, sketches, photographing poses of a model and discussions with others went into developing and refining a child abuse memorial. The final coming together of this marinating was an epiphany design and sculpting session that took less than one hour.

Michael reflects, "It was as visualization and creative process that was very kinesthetic. I set out my sculpting tools and materials and then went out to an open area to work out design and proportions. I paced off an area for placement of the figures. It had already been decided that there would be two figures and that the likely pose would be them sitting side by side with arms over each others shoulders in some sort of supportive and camaraderie fashion.

In visualizing and sensing the presence of the two figures, engaging them and interacting with them, the quality of an inviting and enveloping curved opening was presented. The degree to which it was intended that the figures would be sitting and engaged with each other prevented me from being interactive with the work. In senseing the figures in a standing position while continuing to be shaped in a curved arc I was immediately engaged to a stronger degree with the sculptural vingette.

I would walk up to the figures, mill around them, touch their surface all the while sensing their parameters, shape and feeling their volume. In standing back I was aware of their dignity, support and compassion. To have the full scope of an embracing curve opening they could not each have an arm placed over the shoulder of the others'. The hands could be down holding each other or they could be stretched out to the side but still one hand of each figure clasping the other's. As the hands moved up, their height created victory and celebration. All of a sudden an arch was created under the meeting hands as they were placed outwards and up high.

The viewer could walk right under the piece. Beyond being embraced by the work through the concave opening of the arc, one had the sense of being inside the piece, a part of it, while walking under and through the arch. The sweeping expansiveness and the contained nature of the work intensified. One could closely view and touch the quilts squares. Walking along the back of the figures the surface was a graceful wall for "displaying the quilt squares". In this pose the shawls draping the outstretched arms provided ample surface for placement of quilt squares and created an appropriate monumental mass.

Five years of reflecting, sharing and listening came together in a few brief moments. Reaching my hand up the arch was a few feet above my hands, but not too high. Standing centre and close in front of the figures, the shoulders and quilt squares were actually above the centre of one's body. The forehead, chin, parts of the head and parts of the outstretched shoulders, arms and hands were actually behind you. The sense of walking into the work and being inside of it, that was such a vital part of the early design ideas, had returned after being lost by the design approach of side by side sitting figures.

I knew I had the design idea. Continuing to walk around and touch the work the basic form of the overall work or the two figures did not change. I was most pleased with how much the viewer was part of the work from a felt sense perspective.

In returning to the studio the sculpture was quite well articulated for me visually and kinesthetically so sketches of the maquettes unfolded with ease. The raw sculpting sketches were cubes, lumps and wedges of clay that gave physical form to the experiential visualization that developed while exploring the form. It initially appeared that twice the number of quilt squared could be placed on the shawls of the two figures standing with arms out stretched than with the two figures sitting with a shawl shared and draped mutually over their two backs.

Make
sure
your
hand
gets
placed
in
the
monument!

A"maquette" is a small model of a larger sculpture. The maquette allows the artist to work out aesthetic and technical design issues for a later larger work.

Maquette Models

Physically sculpting the large monument began with sketching and refining four 1/18 size models of the "Reaching Out" Monument. Six increasingly refined versions of the 1/18 size maquette and a variety of drawings allowed for creating the final design for "Reaching Out" and were used to help define the placement and number of quilt squares.

Experimenting with these models allowed for developing the aesthetics of the overall images and working out the proportions of the figures in relation to quilt square placements.

The 1/18 size maquettes were sculpted by Michael Irving in 1996, 1997 and 1998 and the 1/3 size figure was detailed and refined in 1998.

The early art research group for the Monument had led to the conclusion that quilt squares would be ten inches by ten inches. The visual balance for the size squares suggested two inch and two and one half inch quilt boarders.

After the raw sketch maquette the next stage of maquette design needed to incorporate the design size and proportion in relation to the number of vertical and horizontal rows that would work while at the same time maintaining and enhancing the visual power and effectiveness of the piece.

Through calculations and carving incise lines on the first few series of maquettes it looked like the monument would hold 210 or 240 quilt squares between the two figures. The final refined maquette suggest it might be that upwards of 272 quilt squares needed to be incorporated into the monument shawls.

The specific size of the quilt squares and varying the number of horizontal and vertical rows impacted the proportions on the width and height of the figures and size of the overall work. I had a size in mind for the work that felt right. In exploring the design it was possible to consider going one row in each direction larger or smaller.

Adding a set of rows in each direction would change the size of the sculpture by nearly 20% and would increase the volume of the form by more than 100% and increase the number of quilt squares to be sculpted by 60. These are dramatic changes to the presence of a work of art and impact significantly on cost factors.

I played with the final size of the work by putting marks on different walls, placing sticks up and apart at different proportions, finding objects, elements of construction or architectural features that approximated the sizes I was considering. I went to the park sites I was considering as potential locations at different times of the day or in different weather conditions to work with the size and positioning of the work.

The restrictions of quilt square sizes on the "Reaching Out" figures posed a greater need for precision of dimension than generally required for a final work. A small deviation in proportions of a 1/18 scale model will show itself as a nearly 5 inch discrepancy in the final enlargement. The edges of the figures being five inches wider, narrower, taller or shorter then the quilt work would present great design and technical difficulties to resolve.

Small models are great for exploring designs but they have limitations and sometimes produce assumptions and false estimations. Foundries are well aware of the many features associated with enlarging for a maquette and are cautious in their estimations and "predictions"

This dynamic of the small model is addressed for sculptors by creating a 1/3 size model. The 1/3 size model of a monument gives a figure that is proportionally close to the final work in percentages of height and width, yet is economical in materials and efficient to work out design and technical issues related to the completed large work.

The overall size and design of the work is partially defined and limited by the size and number of quilt squares.

The 1/3 size sculpture was primarily a model for working out the exact and detailed mathematics for placement of quilt borders and quilt squares. In unison, design elements of the head, face and hands were being worked through and finalized with the 1/3 size figure. Extensive calculations and detailed measurements were drawn on the surface of the 1/3 size figure.

Aesthetics and mathematical parameters had to be worked and reworked in the 1/3 size version of the sculpture.

The curves and lines for the front of the 1/3 size figures needed very little altering when expanded 6 times from the 1/18 model to the 1/3 model. The back turned out to be a very different circumstance.

The horizontal external curve of the back was 2 ½ squares wider than the front, rather than 2 squares as expected. Even more surprising the forward rising curve of the sculpture created a surface of 2 additional rows of horizontal to reach the same shoulder height parallel to the ground as the front.

The dramatic difference in vertical squares was easy to resolve in the esthetics of the form by adding one inch to be bottom of the over all 1/3 size figure and a slight raising of the shoulders. The curvature and size of the back posed greater aesthetic challenges.

Reducing the back by ½ a square lost too much visually and in terms of the sense of weight in the form. Adding surface mass to incorporate an extra five inches (only 1/4 inch in relation to the small maquettes) meant shifting the thickness of the form and the amount of concave and convex rise and depression on the spine and horizontal width of the back. This actually created a more elegant rolling sweep to the curvature of the back.

Much time was spent refining the shape and moving the positions of the neck, hands, shoulders, height and width of the sculpture to incorporate the various complex balances.

As the quilt squares were being created and the full size monument was being enlarged Imantz Kruze would drop in at random times and give a hand for a hour or the most part of a day.
Imantz had a gift of sharing with many survivors and provided a unique kind of care and support.

Design Background

Throughout the 1970's and 1980's Michael Irving considered a variety of sculptures and sculptural themes to address the topic of child abuse and terrible experience some children have to endure. One series of these sculptures from the late 1970's explored the child's horror and rage. Irving retained these pieces in his private collection and intentionally chose not to exhibit them.

Another body of Irving's work, "The Embryo Show Series", consumed his creative immersion for 1983 to 1988. These gentile and sensitive works explored the life force in creation and becoming "The Embryo Show Series" was fundamental to developing a theory of Natalism in art and cultural expression. On a personal level these works connected Irving to a time before the severe violence and abuse of his childhood. They connected to a realm of safety and nurture.

The soft sweeping forms of the "Reaching Out" Monument were influenced by the gentle forms of "The Embryo Show Series".

From 1990 to 1996 Michael shared the idea of a child abuse monument with survivors, clinicians, artists and others. There were strong suggestions that it should be collaborative, personal, monumental, androgynous in a manner that allowed the viewer to place their own interpretation or personal need for specific gender on it.

More than a dozen monument forms and concepts for a child abuse monument were explored by Michael. Informally and in focus groups the role, meaning and interaction of these pieces were responded to by others.

The measuring machine allowed an organized and structured method for the sculptor to work precisely with thousands of three point coordinates. All of the math and precision was required if the 300 ten inch by ten inch quilt squares were going to fit on the shawls without changing the esthetic design of the sculpture.

In using the measuring machine Dana and Michael were able to cut the large Styrofoam cubes with one inch tolerances for the outside contours of various large curves. This greatly facilitated final sculpting and refining of the enlarged form.

An exact metal grid was built around the 1/3 size figure. A grid precisely three times larger was built around the roughed out blocks of the full sized figure. Measuring coordinates at 1 to 3 ratios were laid out along the the x,y and z grids of the measuring machines.

Looking for the Right Face

The actual time spent sculpting the face was quite brief, yet the development of the face likely encompassed the greatest amount of contemplation over the longest period of time of all the elements of the Monument.

The 1990 to 1995 design concepts for the work all incorporated feminine, even nurturing Goddess like features. The facial expressions of knowing, compassion, acknowledgement, quiet presence were being explored.

There is a validating look associated with listening to and being present with, while hearing a person's story of tragedy. I have seen this look and presence on both men and women but more often with women.

A recurring response in the survivor focus groups while developing the project was that the images needed to be gender pliable. The phase used at the time was androgynous or gender neutral. What was meant was there was a need for viewers to interpret the gender of the figures in a manner that served them personally. There was also the recognition that for many survivors the dramatic presence of one gender or the other can interfere with, or even prohibit availability of the work as an artifact of healing.

This vulnerability may seem "too sensitive" or "too picky" for some who are not familiar with, or do not have to cope with, these particular survivor issues. Unfortunately child abuse does cause deep wounds and dramatic long lasting fragilities -- the depth and degree of these injuries is the very reason a child abuse memorial needs to exist. In addition to aesthetics, returning questions to many design concerns of the Monument were: Does this engage the viewer? Does it enhance or extend the qualities of healing? Will it be a trigger or provide support? Even broader questions of: What is healing? What are the needs of healing surrounding this issue? How does public art heal? What is the extent or limitations of public art as healing?

All of these concerns and more were presented in designing and sculpting the face. As an artist there is the added weight that the face can make or break a sculpture.

Body posture and form, part of what is made up by body language but involving much more, sets a large degree of the tone for how we initially engage each other and may even have a significant impact on how our "energetic aura" reaches out to or receives others. But it is often through a variety of attributes of the face that we reach into the heart and soul of each other.

The basic form of the maquettes clearly lent themselves to an option of clearly defined and detailed hand and faces or a more smooth and abstract form. From the first renditions of the maquettes a simple outline of a face and perfectly smooth hands appeared. The piece seemed more whole with these forms and the visual locus of attention dropped down more into the quilt square area. I was somewhat disappointed at not getting the opportunity to sculpt large and extremely detailed hands on the figure and the sense of vividness to the pose of the face that had been explored for nearly five years had to be let go of.

The facial presentation was worked and reworked in the plastercine models. A smooth face with no detail was congruent with the hands and some of my other sculpting work, but did not hold or enhance the power of the piece. Too much detail sculpted into the mouth, cheeks and eyes detracted from and let down the work in another way.

No hair or ears; a slightly defined nose forehead and eyebrows; and mouth and eyes that were barely present seemed to imply a strong, yet "pliable" pose to the faces on the 1/18 size plastercine maquette. The small plaster maquettes allowed a much more effective refining of the faces of the figures.

Sculpting the 1/3 size model allowed far more refinement and established that the subtle approach to the facial features was going to work best. The face clearly did not overpower the piece. It comforted the viewer and was interpreted as healing, with a sense of validation and benediction. People see the figures as male or female or have the option of being either.

An element of the non-descriptness of the mouth and eyes implies that the voice and vision of the work is held in the quilt squares adorning the work. The quilt square are the profound and prolific story tellers of the monument.

Though I received much input on the nature of the facial detail and approach, these elements of the work were physically sculpted and worked with in the solitude of the studio without staff and visitors present.

A fascinating and cherished aspect of sculpting the face was the collaboration and involvement of my senior studio staff.

Beside the head is the yellow four foot hot knife, in the back ground is the 1/3 and full size monument base inside their measuring machine grids.

To work with and retain the form and details of the head and much finer measuring machine grid was built around the head of the 1/3 size figure. A corresponding x,y and z grid was drawn on all sides of the Styrofoam block for the head.

The face and head were roughed out on a bench. Details were sculpted into the Styrofoam of the face after the head was placed on the figure. The head was brought down again to the bench to place a thin layer of plaster and gauge as a finish and hardening coat.


Gintas and Michael position the head on the first "Reaching Out" figure.

Final refining of the plaster coat on the face was done with the head mounted on the monument.

Doug shaping the second half of the first "Reaching Out" Figure following the contours established in Michael's carving of the first half of the figure and with making reference to the 1/3 and 1/18 size maquettes.

Michael shaping the final surface of the figure after the measuring machine grids have been taken away.


Smoothing off the final graceful lines of the Monument's sweeping sleeves.

Creating a Team to Execute the Final Monument

Michael reflects, "It was very difficult to let another person sculpt in the overall form of the enlarged piece. It was my baby and I was very demanding and uncompromising in the need to execute the highest quality in the final 'Reaching Out'figures. There is a rightness to a line and form that works. If that is not brought out and refined then a piece can be dead/lifeless, stilted or just does not work. Sometimes you can tell that a piece has been made for an artist or enlarged for an artist. There is a separation between vision and final work. The role and importance of the "Reaching Out" Child Abuse Monument meant that it had to carry with it that life, vitality and vision."

Sculptors of Like Mind

Dough Robinson was the first professional sculptor to join Michael working full time in the studio. Michael knew Doug Robinson's sculptural form from back in the early eighties when they were both having their work exhibited at Bridgestone Gallery and where they were introduced to each other by gallery owner and sculptor Yeon Tak-Chang.

Doug was sought as a studio artist because of his sense of design and his classical experience in the traditions of sculpture due to his many years of work in the stone sculpting studios of Pietrasanta in Italy.

Michael says, "It was stunning to have Doug cutting with the 3 and 4 foot hot knives. He would look at the line that I sculpted on the first half of the figure or the one-third model and reproduce them just as if I was on the knife. When plains and curves needed to vary because of the aesthetics of enlarging of the figures Doug knew exactly the changes I was describing to him. His slightest removing of a plain of material would have an uncanny expression of how I would approach form.

He was very intuitive about when to ask about cutting because of a difference he thought we might have in interpreting the form. When we had diverging views Doug was terrific at letting it be my sculpture. That kind of artist/technician is such a pleasure to work with.

Gintas works on the plaster bandages on the arm sleeves while Doug steadies the 4 foot hot knife.
(Plaster of Paris was donated by Mr. Brain at lasdkjfk and plaster bandages were donated by Smith and Nephew through Lisa Grinsdale.)

The sculpting team was a pleasure to work with. Each artist was respected for the skills they brought to the project.

Pins to hold the styrofoam blocks together supplied by Industrial Wire Products

All of the exact locations of the quilt squares and quilted borders had to be plotted out and marked on the full size Styrofoam figures.

The OCA sculpting team had responsibility for making and cleaning up molds of wax quilt squares. Casting and cleaning up wax quilt squares and a variety of sizes of quilt boarders.

Applying Quilt Squares

The 300 quilt squares were created in hard casting wax squares poured out of individual rubber molds and identical looking to the softer modeling wax quilt square that each participant sculpted. These casting wax copies of the quilt squares were aesthetically arranged in relation to how they looked next to each other on the full size monument. The Styrofoam area inside the casting wax quilt borders where each quilt square was placed had to be carved out to fit the unique contours of the backs of the different quilt squares. When the square was finally fitted in place the abutting edges were filled to exactly match up quilt squares with the adjoining quilt borders that Michael Irving has sculpted. When finished, the final wax surface of the full size sculpture had all the details of the quilted border and the original sculpted wax quilt squares.

Michael states, "I am quite social as an artist. I do not mind sculpting with others and when they are around I truly enjoy collaboration and involvement with a work of art.

I also thoroughly enjoy solitude in producing art. Working late in the evening or through the night are great times of creative immersion for me.

The lack of phones, interruptions and distractions allows a continuity and focus. Once a month or so I like to create all day, work through the night and into the next day.

These 24 to 36 hours of creative emersion are invigorating and facilitate a sense of peace and connection to matter, energy, the inner and out world – the life force. I am usually quite prolific during these creative sojourns."

Each sculpting wax quilt square had to be softened and reformed to fit the curvature of the monument.

Michael reflects, "I welcome the sharing of divergent views and am accepting of "agreeing to disagree", but I do not take well to judgmental interference. After discussion with other I like to make my final artistic decisions and move on with the work at hand. I am put off by dogmatic criticism or rigid views. Sometimes it is hard to be a very public artist.

Occasionally a musician would take a break from their instrument to work in wax with sculpting tools.

Give us your hand for the monument!

Archival photography of the monument was provided by Phil Pendry, Harold T., Robin Irving, Debbie O'Roarke, Alison Black, Frank Hamilton, Imantz Kruze and many project participants and their supporters.