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.jpg) silver patina
on
bronze
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Patinas
are typically formed by chemical reactions on the surface of metals.
Most sculptural patinas are made by mixing chemicals and applying them
to the surface, rather than waiting for nature to take its course. Most
of patinas are achieved by brushing chemical solutions onto the surface
of the bronze while heating that surface with an oxyacetylene torch.
Others are formed over several days by burying the piece in wood chips
soaked with other patina chemicals. Often, the final patina is a result
of two or more different patinas layered one over another.
Unlike
conventional patinas,
silver
patina
is costly
and requires special protective wear (in addition to eye and face
protection, long sleeves and particular gloves) as the hot patina
actively splatters and permanently damage and discolours skin and
fingernails.
Nitrate
toxicosis in humans can occur through
enterohepatic
metabolism
of nitrate to
ammonia,
with nitrite being an intermediate. Nitrites
oxidize
the
iron
atoms in
hemoglobin
from
ferrous
iron (2+) to
ferric
iron (3+), rendering it unable to carry oxygen. This process can lead to
generalized
lack of oxygen
in organ tissue and a dangerous condition called
methemoglobinemia.Humans are
vulnerable to methemoglobinemia due to nitrate
metabolizing
triglycerides
present at higher concentrations than at other stages of development.
Some can be more susceptible to the effects of nitrate than others. The
Nitrate
ion is a
polyatomic
ion
with the
molecular formula
NO−3 and a
molecular mass
of 62.0049 g/mol. It is the
conjugate base
of
nitric acid,
consisting of one central
nitrogen
atom
surrounded by three identical oxygen atoms in a
trigonal planar
arrangement. The nitrate ion carries a
formal charge
of negative one, where each oxygen carries a −2⁄3 charge whereas the
nitrogen carries a +1 charge, and is commonly used as an example of
resonance.
The
Silver
patina is a ‘solution of
silver
nitrate’
applied to bronze using the ‘torch technique’, care must be taken
subsequently to bring up the desired effect.
Flakes of silver
nitrate
and stir to dissolve then apply while heating the metal till steams off
as the patina is brushed on. Patterns can be made with brushstrokes.
Silver patina
colour variation (from dark gunmetal depths to brighter silvers) is not
entirely controllable and requires specialised knowledge as well as the
extensive expertise.
The grey and white effects of silver can be rinse off, wearing rubber
gloves (to keep the residue off hands) when the surface is first cooled.
Once it is rinsed and completely dry, it can be waxed. Once the wax is
dry, the surface can be buffed to produce a shiny silver or silver-grey
colour, sometimes dramatically different from the un-buffed look.
When the patina dries
it is mostly a dull, variegated grey-white, with hits of green and
occasional shiny silver flecks.
The
loose white can be gently rinse away, then wax is applied to the
surface, finally (when the wax is well hardened) the sculpture can be
buff it on a soft brass brush wheel to bring up a cloudy mottled
silver-grey with a medium-high gloss.
Much of the white is powdery, however,
and must be fixed with a spray fixative if the matte grey-white effect
is to be kept; otherwise, the white powder will smudge with the
application of the protective ‘wax coating’.
When the matte effect is preserved then the patina is
called
Grey.
If a
thin foil of silver is applied onto the object then the electro-plating
process is used to apply a thin layer of gold to a metal surface.
A method of coating a metal object with
silver by passing an electric current from a block of pure silver to the
article to be plated through a solution of cyanide and silver salts.
Electro-plated Nickel Silver, with a nickel based alloy being the base
metal to be plated.
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LENORE BOYD
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Lenore
Boyd was born in 1953, to Guy Boyd and Phylis Boyd.
Lenore
is the mother of five children, working from her studio in the Dandenong
Ranges of Victoria.
STUDY
Lenore
began sculpting at an early age, influenced by family heritage and
surrounded by a creative environment. She studied sculptural technique
in studio of her father, the late Guy Boyd, to whom she was apprenticed
for four years. As a member of the Association of Sculptors of Victoria
and the Victorian Artists Society, she attended life classes and drawing
from life since 1969.
Lenore
has deep understanding of the human form and an appreciation its beauty,
her work has been influenced by classical sculptors including Rodin,
Maillol, Michelangelo Bourdelle and Guy Boyd, her father. Themes for
sculpture are often derived from myths of ancient cultures as well as
her own life journey. She was an Artist in Residence at Firbank
Anglican Girls School, Brighton in 1995 and conducted regular workshops.
Lenore is a master in her discipline, during past thirty years she has
produced a prolific body of work.
MAJOR
EXHIBITIONS
1971, 74, 77, 80, 86, 92,
93 Von Bertouch Galleries, Newcastle, NSW
1973 Australian
Galleries, Melbourne
1974 Desborough
Galleries, Perth
1975 David Dryden
Gallery, Adelaide
1976 The Barn,
Adelaide
1978 Collectors
Gallery, Perth
1991 Andrew Ivanyi
Galleries, Melbourne
1992, 93,
96 The Convent Gallery,
Daylesford, VIC
1992 Benson Gallery,
Otway Ranges, VIC
1993 Beaver Gallery,
Canberra
1994 Bell Gallery,
Berrima, NSW
1995 Art World
Graphics, Rushcutters Bay, Sydney
1995 Mosman Gallery,
Mosman, NSW
1995 St Albans
Historic House, Whittington, Geelong,
1996 Redhill Gallery,
Brisbane
1997 Galeria Aniela
Fine Art Gallery, Kangaroo Valley. The exhibition triumphed the front
page of Sydney Morning Herald - 17th May, ABC TV National News - 18 May.
The exhibition was also, featured on the ABC TV Sunday Afternoon Arts
Program - 22 June 1997.
GROUP
EXHIBITIONS
1970,
76, 89 Manyung Galleries, Mt
Eliza, VIC
1973 Salamanca
Gallery, Hobart
1971,
96 Von Bertouch Galleries,
Newcastle, NSW
1973,
76, 90 Adelaide Arts Festival, SA
1992 Schubert
Galleries, Goal Coast
Lenore has completed numerous commissions and she obtained wide media
coverage:
Lenore Boyd father
Guy Martin à Beckett Boyd
(12 June 1923 – 26 April 1988) was an
Australian
sculptor.
Guy Boyd was born in
Murrumbeena, Victoria,
he was a member of the famous
Boyd artistic dynasty,
and brother of painters
Arthur Boyd
and
David Boyd.
Guy Boyd was a potter and figurative sculptor noted for his
ability to capture the fluidity and sensuality of the female
form. He was also active in environmental and other causes,
including the damming of Tasmania's
Franklin River
and the
Lindy Chamberlain
affair.
Initially Guy Boyd was a potter, establishing both Martin Boyd
Pottery and later Guy Boyd Pottery. These studios produced a
wide range of modernist objects from house-wares to decorative
pieces which enjoyed strong commercial success. Iconic
Australian imagery, particularly flora and indigenous motifs,
feature heavily. This period of work is also stepped in the
'atomic age' aesthetics of the 1950s and early 1960s with a
familiar color palate and shapes that hold strong Echos of Eames
and others.
Guy Boyd turned away from this commercial work and to a
full-time career in sculpture in 1965. His commissions include
sculptures in both Melbourne and Sydney's international
airports, Caulfield town hall, the Commonwealth Bank and has
pieces in the National Gallery, Melbourne. He has had
exhibitions of his work in Australia, England, Canada and the
US. He also won the Churchill Fellowship to study art overseas
in 1968 and was appointed the Art Advisor to Deakin University
in 1988. 'Guy Boyd' written by Anne Von Bertouch and Patrick
Hutchins was published by Lansdowne Press in 1976.
Guy Boyd was Australian Co-ordinator of 'Save Lindy Chamberlain'
and wrote the book 'Justice in Jeopardy' in her defence. He was
President of the Brighton Foreshore Protection Committee, which
he founded with a plaque commemorating his achievements in
preserving the Brighton Foreshore erected on the beach at
Brighton, Victoria, Melbourne. He was President of the Port
Phillip Protection Society and was arrested campaigning against
the damming of the Franklin River in Tasmania. He migrated to
Canada with his wife and four younger children, settling in
Toronto in 1975, but returned to live in Australia five years
later. Died 26 April 1988.
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