For the past decade, the focus of my small works has been the creation of Sculpture Cremation Urns in which, the sculpture form acts as a handle to open its pedestal; the resultant interior space of the pedestal of the Sculpture Cremation Urn being used as the final resting place for a loved one, or for hidden storage. During this time, Sculpture Cremation Urns have been my major small works venue for new ideas, and experimentation with various combinations of materials.

Creation of Sculpture Cremation Urns:

Two rather simultaneous occurrences stimulated the creation of Sculpture Cremation Urns. A friend and collector of my work was unable to find a satisfactory Sculpture Cremation Urn, and encouraged me to consider this genre for my work. Additionally, I had already begun to fabricate my pedestals from stone plate material in order to decrease the overall weight of the piece creating a usable interior space.

This body of work continues to expand, and the current series of 14 unique Sculpture Cremation Urns is fully represented on the Urns and Sculptural Vessels pages on www.michaelorgelsculpture.com. Each of my natural stone Sculpture or wood Sculpture Urns is hand carved and fabricated, and can be recreated; the new form will be a kindred spirit of the original, but a one-of-a-kind carving unto itself. If the desired work is not immediately available, it can be completed in approximately 6-8weeks. Requests for new design are welcome.

Sale of Sculpture Cremation Urns:

As of January 2011, my Sculpture Cremation Urns have been available only at www.michaelorgelsculpture.com, with prices being reduced to reflect the subtraction of gallery costs to my overhead. Shipping and handling costs for the contiguous states are included.

Image:

“Vessel II”, African mahogany/ bronze/ limestone, 8” x 15” x 11”, 23#, 2011, $2500.00 is the latest addition to my series of Sculpture Cremation Urns. I have always liked the form of my first Sculpture Cremation Urn, “Vessel”, inspired by a seedpod. This transformation involved a move back to working in wood, and its combination with bronze and limestone. Here, a gorgeous African mahogany shapes the hull of the vessel, and is split by a plate of bronze forming the prow and stern. A bronze plate supports “Vessel II” and keys into a bronze inlay of the tiered limestone pedestal/ urn.

For more information please refer to my contact information at www.michaelorgelsculpture.com” rel=”attachment wp-att-87″>.

Virtual Sculpture Process Finds Life As Maquette

Posted on February 7, 2012 by Michael

Sculpture process, for me, begins with the creation of a virtual sculpture in a 3D program. However, in my latest work I became mired in this part of the sculpture process, not really understanding where I wanted to go with the idea… a classical ‘not seeing the forest for the trees’ dilemma. I thought the sculpture would involve two modules interacting to be seen together as a single entity. However, at this point, I did not recognize that the third and most important component of the sculpture would be the ever-changing space between these modules. Once this idea for the use of negative space became apparent the virtual sculpture design flowed, and there was no question that the title for the work would be “The Space in Between”. The virtual part of the sculpture process was now complete, and has been posted in detail at: http://www.flickr.com/photos/michael_orgel/6717872717/in/set-72157628920064977/

I often use a maquette in my sculpture process to work out design kinks and to in-turn be used as a model for enlargement. In this instance, laminated black walnut was used to carve the two modules, and a limestone base was used to position them in order to define “The Space in Between”. Because I had spent considerable time in the virtual sculpture process, I was comfortable making immediate design changes in the maquette. In comparing the side-to-side photos above, the smaller figure (to the left) was carved with an interior hood at its top and bottom… a small but important addition that is difficult to achieve in the virtual sculpture process. And, the larger (right) module was carved with a more open orientation in order to improve the visual impact of the space between the two figures, and their outer oval conformation in this view.

Lastly, in the sculpture process to date, was the need to position the two walnut figures on their limestone base to make them become part of a single sculptural entity, while retaining their individual recognition… the most difficult, but fun part of the exercise. Multiple images of the walnut maquette to document the changing ‘space in between’, and the tension created by the almost touching modules is now available in the set in Flickr, completing this part of my sculpture process. http://www.flickr.com/photos/michael_orgel/6717872717/in/set-72157628920064977/

I envision a large outdoor work, most likely carved in Indiana limestone with a stainless steel base, as the final step of the sculpture process for ”The Space in Between”.

Michael Orgel © Sculpture/ Blog

Sculpture Cremation Urns, Artist background, Process, Work descriptions.

Sculpture Cremation Urns

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Virtual Sculpture Process Finds Life As Maquette