“In this last phase we concentrated on finishing all the modeling, molds, text and lettering. We finished the motif of the roll of plans. It was very complicated by the weight and unwieldiness of the form. This was further complicated because of all the elements, texts and details: This includes finishing the hand and the ring that represents the shield of Quito and details that have biographical significance. In his right hand he is clinching the architectural plans, an envelope inviting the architect and Alcalde of Quito, Sixto Durán-Ballén to join the Jerusalem urban planning commission, an Israeli postage stamp and a few notes from Beethoven’s 5th Symphony. We finished the edges of the paper that gave the effect of separate sheets. The mold of the roll and hand was a very delicate and complicated procedure. It had 10 pieces and a rubber component for the hand. It had to be turned and manipulated without destroying the details. We welded a support to the studio columns so we could rotate the roll in different positions: horizontal and vertical. Nicole sculpted the condecoración de San Lorenzo that will go on his lapel. She also put the phrase, “Ni un paso atrás in the underside of the right shoe with letters that were laser-cut. We made silicon molds of the San Lorenzo pin and a mold of the text under the shoe. We made the rubber mold of the left hand that has the watch, and the rubber mold of the head; all with plaster mother molds. We delivered the molds to Jorge Avila, the only foundry I trust with my work because he is reliable and casts all my details. He takes the time to “chase” my bronzes. Chasing is the process of finishing the bronze in the metal phase, recuperating details and textures and grinding the welds.
Conclusion
At this point in the project our intense labors are over. My fate is in the hands of another, Jorge Ávila. While I am in recovery in California for a short stint, Ruben will make sure the waxes are revised. With every reproductive generation something is lost that can be recuperated with retouching. Hopefully, while I am recuperating my energies in the U.S. for a short period, Ruben will be able to send photos of the progress. Once the pieces are cast, they are welded together, and all the textures and details are recuperated. An internal structure made of 32mm rebar is anchored inside the figure so it can be welded to a metal plate that is fixed to the cement floor in the plaza. I hope you have enjoyed following this complex and long process. Most people are unaware of what goes into making a sculpture of this magnitude and importance. It combines technical and aesthetic skills and I consider this knowledge to be important for artistic practice. If this art form were lost so would the narrative of important historical people and events. I thank the Durán-Ballén family for trusting me to create an effigy of their patriarch and the City of Quito for approving the project. I can never thank the University San Francisco of Quito and my Dean Santiago Castillanos, and coordinators Debora Morillo and Willy Orellana, for supporting my artistic production and providing the environment and conditions to continue with my teaching and artistic endeavors”. Howard Taikeff
