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Hello Geoffrey!
I think I have a real tough one for you - I hope you don't mind. I am fairly recent to fresco, I am mainly a sculptor, and plasterer. I have mastered many of the nearly lost renaissance techniques - most notably "stucco duro", which is a modeling putty made from plaster/lime putty/ marble dust and about ten other "secret" ingredients. It is seen throughout Europe, and was often painted and gilded. The plaster decoration of a room was carried out by the "stuccotari", who were a combination sculptor/interior designer/ master artisan. During the renaissance they were more higly prized than the stone workers and painters. Michelangelo, Donatello and Raphael were all admirers and masters of the technique. The new world was built with molded,mass produced plaster, by 1900 the new world craftsmen, using poor copies of European ornament, were cranking out catalogs full of product and this is how much of Canada and the U.S. was built. The old skills were never used here (exception is Spanish Colonial churches in Mexico) and they began to die out in Europe - the last practioners died out in the 1920's. Ornamental plaster and even fresco, became synonomous with over decorated and fussy decor.Now - to YOU!
I am interested in putting together a revival of the olde world plaster skills which includes buen fresco, but also scagliola (beautiful imitation marble), sgraffito (scratched plaster color work - very beautiful), stucco duro as mentioned and ornamental fibrous plaster modeled in place. A team would work on NEW buildings which have been able to combine art & architecture, as many of the old buildings were done but with NEW artistic vision. Today, architects are expected to design the ornament and the contractor is to carefully implement that design. Less than 100 years ago this was not the case. Architects were more concerned with bricks and mortar issues, and the contractors were more artists and artisans. What I am proposing is to approach architects and public zoning councils with the idea that the monies that are currently earmarked for on site public art, be allowed to used for architectural art on the actual building. Examples include and interior/exterior fresco panels, sculpted panels, custom architectural artworks. These works must have artistic integrity and do not include mass produced castings or low skill level faux finishes - these are the real deal, equal in quality and appearance to the exquisite beauty of the European, Asian and Mediterranean pieces. They have, however, been updated with contemporary or localized themes. At the present time, the councils often insist that 1% of the total project cost be spent on public art, and because the developers and architect are partially or totally excluded from the selection process, the work is often marginalised into a bland fountain or an unimportant wall. By allowing this budget to be used for architectural art, this changes everything. The artist must be closely involved with the builders and architect. To further enhance the proposal, in my renaissance artisan approach, after approved for work we would also conduct on site workshops for local artists, students and the interested public. So my question is (finally, he sighs): What advice can you offer at this stage which will help us develop a solid business plan? We are talking about a revolution in Art and Architecture, an "arts & crafts revival" for the upcoming century - we have the manifesto, now we need the strategic plan. , Do we work on architects or councils? How do you get free publicity? |
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