Mike Roig, Sculpture

Whirled of Imagination


I'm going to approach this a little differently this time. I have in the past

tried to convey a step by step record of fabrication. Having done that

with the previous sculpture in this series of commissions, and since many of the processes

involved will be familiar if you followed Whirled of Nature's creation, that won't  be my goal here.

 I will instead document this sculpture's progress in pictures, and if I have commentary to add it will

be more a record of thoughts and observations that occur along the way.


1/5/24 - 1/15/24





1/15 - 1/29





I really like being able to machine my components, but it's a long, detail oriented process

where distraction can lead to stupid errors. So I guess I didn't spend much energy on documenting the

process. I'll let that 55 gallon barrel of shavings speak for that week's worth of effort.


And then back to that base, shoring it up, and preparing to close it up.





1/30/24 - 3/8/24




It's been good days in the studio these last weeks. Above you can see where the lower axle got

mounted to the base, and the transition I created to blend in with that shape. Then it was on to the midsection.






At this scale, and with the complexity of forces that will be at work as this piece moves, a good deal of thought and

careful fabrication goes in to the internal structure to insure this graceful piece will withstand any and all elements that

nature will bring to bear. Work that will never be seen, but will pay off in longevity and durability.




All the little details...




And finally the first two sections get their first fitting. Wayne Vaughn came by and we

got it put together. Sixteen feet and counting in the new view out the studio side doors.

In the foreground the top section just begins to take shape.



3/8/24 - 4/13/24


The past month's work has been all about the topper for Whirled of Imagination and the

dancing figure embodying that theme. If Whirled of Nature is my ode to the avian world,

then this sculpture speaks to my desire to emulate the grace, movement and freedom

I see in the flight of birds. Now I'm no dancer, but I can play one in steel.






A benefit of scaling up from the model is the level of refinement and detail I've been

able to bring to the form.



I love this picture from when I first cut the figure loose from its temporary

work stand. He seems to leap for joy.



Another new element not represented in the model is the dancer's muse whispering

style points.



If you were lucky enough to visit the studio last summer during Izzy's residency you

have probably already guessed where that inspiration came from.




And then there were the addition of wind blades to propel our dancing duo, followed by more polishing

and an application of clear sealer. The last stage will be adding some stain to future seal coats,

but that will wait until all the elements of this sculpture are at the same level of finish.





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