These small wall plaques arose from my lifelong interest in pattern, texture, and bas-relief, and my experience with ceramics, sculpture, and textile arts.  I chose to work with molded casting plaster because of its versatility, workability, and speed. 

I first created individual molds of textures and designs by pressing everyday objects into oil-based modeling clay.  These individual molds were then cut to shape, usually based on a predetermined pattern.  I then assembled these components into the larger compositions which, when surrounded by a temporary "wall" to hold in the plaster, become the final molds for the finished pieces.  Casting plaster was poured into the molds to a thickness of between 1/4 and 1/2 inch, and allowed to harden.  Untreated casting plaster is soft, so at this time I did any necessary finishing work, including carving, filing, sanding, and steel-wooling.  I then warmed the plaques and soaked them in thinned linseed oil; after two soakings, the plaster had sucked the oil in to a depth of about 1/8 inch.  When dry, this oil-impregnated plaster is very strong, with a tough and durable surface. 

The painting process was lengthy, especially since each layer had to dry for one or more days before the next.  Each plaque may have a dozen major applications of color; most also include areas of gold bronzing powder.  I used regular artist's oil paints, starting with a thin coating rubbed into every cranny of the surface.  I then used brushes and rags of various hardnesses and differing amounts of pressure to apply and remove paint from different depths of the relief.  The last major applications of color were made with a brayer, also using differing pressures to deposit more or less paint.  Finally came some spot detailing.  The goal was to achieve a harmony of color and detail throughout the piece without losing the unique energy of each area.

The final stage was framing.  The frames came from a variety of sources, but all were specially constructed since I did not want the usual overlapping lip.  Therefore, when I used regular picture molding, I turned it on its side.  In other cases, I made my own molding from picture moldings or decorative moldings obtained at the hardware store.  These hand-made moldings were painted similarly to the plaques.

These works should be displayed in a location where they can both be studied from up close and viewed from a distance, since as one moves away from the piece, the patchwork of detail unites into a harmonic whole.c In addition, as sculptural works, and also because of the varying glossiness of the painted surface, their appearance changes dramatically in different lights.  They can be placed in bright light. And finally,  since they will not be damaged by moderate moisture or temperature changes, or even an infrequent mild washing, they may be safely displayed in problematic areas such as bathrooms.