My process through the making of Homo Apis

Working with paper pulp (papier mache) is a lengthy process. Unlike clay, paper pulp doesn't need to be fired in a kiln. It is air-dried and finished with a sealer or varnish to protect the sculpture from humidity. It is meant for indoor display. The sculpting process starts with an inner structure, the armature. It is often assembled of wire, wood or cardboard and then fleshed out with paper or aluminum foil. The entire figure is wrapped in masking tape.

Proportions and gesture is established at this early stage. The figure is usually attached to a base, for stability and safe handling.

Careful adjustments and tweakings follow, as final decisions are made regarding the stance. Working with a three dimensional piece means the sculptor has to consider and not lose track of how the piece is shaping up up from the front, back, side, top and bottom angles.

Paper pulp is applied to the armature, a slightly thicker layer than required, to allow for shrinkage.

After 24 hours of drying time, the thick layer significantly shrinks. A second layer of paper pulp is necessary, sometimes even more.

When the piece has completely hardened, light sanding smooths and defines the lines and contours of the anatomy. More detailing is done on accessories, if any, on muscle tone and on facial expression. This painstaking phase is all about refining the aesthetically necessary details.

The figure is finished when all the desired elements are in place. A story, and and engaging presence comes to life.

The finalized piece in ideal conditions; properly lit and displayed in an exhibition.