|Armatures, Molds, Wax and Bronze
As part of the creative process Miguel learned to make complex welded armatures and multi-part plaster molds (the mold of the sculpture at left had one hundred and twenty nine pieces). The goal was reproducing the clay original in hollow beeswax, for bronze casting through the lost wax process.
After attending the Moldmaking Seminar at Polytek® (Pennsylvania, 2005), Miguel switched from the traditional plaster molds to flexible silicone and rubber molds for his sculptures.
|Miguel Reynel as a student of sculptress Margarita Checa,
at the Cristina Gálvez Studio.
Lima, Peru, December '92.
|A typical day at the studio would include drawing from nature (with a living model) and a modeling session. Drawing was considered the basis for sculpture and the goal was allowing the student a thorough understanding of the inner structures of the body -the logic beneath the articulation and assemblage of the different body portions. That way, drawing would not be just the mechanical act of copying the model, but the mental exercise of building a figure directly from concepts ingrained in the mind of the artist. Paradoxically, this method that radically negates meticulous copying, ends up producing the most accurate renditions of the model -the strongest and most vivid also- and can be extended to sculpting, either figurative or abstract.|