Trifinity
I believe the function of art is to stimulate and satisfy the senses. Reacting to a
work of art is a personal experience which in my opinion may be enhanced through
knowledge and understanding. Many people have little understanding of the processes
involved in developing a monumental bronze sculpture. This fact is evident to me
because of the numerous individuals that ask me to explain the method used for
creating my sculpture "Trifinity." I of course can explain the process, but because
it is so involved, it becomes a rather lengthy and sometimes confusing experience
for the interested party. There are many ways to produce a bronze sculpture. I use
the lost wax process for small sculptures and the sand casting process for larger
sculptures. In my experience sand casting has proven to be a time saving and eco-
nomical approach to casting large pieces of sculpture. "Trifinity" was cast with the
sand process. This photographic essay is intended to provide a visual and verbal
dialogue of tools, materials and techniques involved in the creation of "Trifinity."
I BERGEN'S STUDI~ _
I ~GALLERY
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The original small model of "Trifinity" was executed in plastecine.
This model was used as a guide to develop the full scale model.
The metal framework around the model is twelve inches high and
corresponds to a larger twelve foot framework around the full scale
model. This system of frames around the models makes it possible
to take exact three dimensional measurements and enlarge the small
model to the desired size.
Working from the original model a metal armature is established to a twelve foot scale. This armature
supports the full scale model and is covered with poly-urethane foam. This is accomplished by pouring
liquid poly-urethane foam into cardboard forms that correspond to the general shape of the finished
sculpture. After the foam expands and hardens the cardboard forms are removed and the foam is ready
to be shaped to the desired configuration.
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The foam is shaped by cutting, carving and scraping with various tools including saws, files and knives.
Constant measurements are taken to insure a likeness to the model.
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The full scale model is coated
with a thin layer of brown wax
to produce the desired surface
texture. This material is also used
to model the final detail of the
sculpture. The model is then
divided into sections through the
use of metal fences.
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The space between the fences is filled with plaster, reinforced with layers of burlap.
These plaster pieces duplicate the surface of the sculpture model and together,
after removal, comprise the negative mold.
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After the plaster sets and hardens, the negative molds are removed. The inside
surface of the mold is treated with a wax releasing agent. Spun fiberglass and epoxy
resin is sprayed into the molds with special spray equipment designed to mix these
materials together in one operation.
This epoxy resin fiberglass material, after being sprayed and compressed with
metal rollers to the desired thickness, becomes the positive pattern. After the edges
are trimmed and finished the fiberglass pattern is ready to be impressed in sand
and cast in bronze.
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The fiberglass positive pattern is pressed between two boxes of sand, the boxes are separated and the
pattern is removed. Pouring sprues and gates are carved into the sand, the boxes are re-assembled and the
molten bronze is poured into the sand mold. The metal is poured into the sprue and runs through the
gates or passageways to the void left in the sand by the positive fiberglass pattern. The bronze is cast at a
temperature of two thousand degrees. After the bronze cools, the sand is shaken out of the mold and the
positive bronze pieces are prepared for assembly.
The sand cast bronze pieces of the sculpture are prepared for assembly by grinding
with a rotary grinder. Each piece of the sculpture was numbered before casting.
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The weight of the cast bronze makes it necessary to handle the
sections with a large overhead hoist and nylon straps.
The sculpture is assembled into the major sections. These sections
are then arranged in the proper position and welded together.
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After all the pieces are assembled the surface of the sculpture is
oxidized with chemicals to achieve the desired patina.
Mounting studs projecting. from the black granite base hold
the sculpture seclN"ely after it has been positioned on the pedestal.
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"Trifinity" cast of silicone bronze is located in the heart of
the new Salina Civic Center Complex between the Library and
the City County Building.
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"Trifinity" after the unveiling rep-
resents more than three years work
by the sculptor, Dr. Richard Bergen.
Mrs. Lou Ann Bergen
Mr. William Usher, Mayor
Dr. Richard Bergen, Sculptor
Mrs. Karen Graves,
Co-Master of Ceremony
Dedication ceremonies include an explanation of the symbolism of "Trifinity" by the sculptor.
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THE SYMBOLISM OF "TRI FINITY"
I consider time as being infinite and composed of three segments, hence the
name "Trifinity."
"Trifinity" was conceived to represent three segments of time. The past, present
and future.
The symbolism of the faces indicates awareness of the past, uncertainity of the
present and incognizance of the future. The sturdy contemporary present figure
stands tense and alert and bridges the gap between the serene figure of the past
and the massive beconing figure of the future. There is a fluid continuity incorpor-
ated throughout the composition to indicate the flow of time and to impart a feeling of
movement.
Photography by Diane Simpson