SCULPTOR’S PROCESS: Frank makes a fountain
Posted on June 7, 2014
It all started with a sculpture you may recognize if you’ve been to Matthews Gallery in the past few years. Frank Morbillo‘s ‘Complement’ was a fountain that stood outside our building for a time, enchanting Canyon Road tourists with its elegant lines and soothing sounds:
“It was inspired by the figure, a relationship between people or entities,” says Frank. “The two sides have a connection in terms of how the line of one complements the line of the other.”
Two gallery visitors who were particularly charmed by the sculpture kept it in mind as they built their new home. Nearing the end of construction, they got in touch with Frank and asked him to create a similar piece for their front entryway. Just like the two pillars of the sculpture, Frank says the commission was all about maintaining a carefully balanced dynamic.
“During the course of the commission, I am constantly sending images that are going back and forth between myself and my client,” the artist explains. “Six times throughout this process or more, we were exchanging information and tweaking and getting approval.”
Below you’ll see images from their correspondence, starting with a cardboard model and ending with the stainless steel fountain in its beautiful new space. Follow Frank on his artistic journey…
First, Frank marked up an image of the original sculpture (left). ‘Complement’ was larger than his clients wanted, so he adjusted the scale and used the new measurements to resize some cardboard cutouts from the original project (center). The new, smaller cardboard pieces came together to create a full-scale model of the new piece (right).
“When I’m building it in the studio, it’s important to have the model at the level that it’s going to be viewed. In the clients’ home, it’s going to be up a few steps from the ground level. I elevated it to make sure the proportions were working. I want there to be a good interaction of elements.”
“Different materials make the water flow differently. A rough material creates some surface tension, while a slick material will let the water run very fast.”
Next, Frank manipulated images of the cardboard model in Photoshop to show the flow of the fountain. The blue line you see on the edited photograph is where the water will fall on one side. The white piece of cardboard under the sculpture represents its base, which presented a unique problem.
“From the very beginning, I had to be very careful about water flow because I had a limited landing pad for the water to fall. The basin was much smaller and narrower than in the original sculpture.”
After tweaking the cardboard model, Frank took it apart and traced the pieces on stainless steel (left). He used tack welding to create a rough version of the piece (center and right). Tack welds allowed Frank to alter the form based on his client’s feedback.
“The dark buttons going up the edge are the tack welds. The tack weld is very strong; a series of four down the side can hold it mostly in place. Once you’re at this step, you want to make sure that everything is right. Afterwards, there are several days worth of work to make the elements seamless.”
It took about a week to create the shiny sculpture you see on the left. The two red arrows mark openings for the water. Next Frank worked on the base of the sculpture, installing a pump and carefully feeding the electrical cord through a riser tube that holds it above the water (center and right).
“All of those edges have been welded and sanded. This is my first rough pass on putting the finish on the metal.”
“One of the things you look for is the pump’s capacity to go vertical. I size it at a slightly greater capacity than my need is going to be so that I’m sure the water will reach the top.”
“The water enhances and adds to the whole scheme of the project. By placing the pump on the foam pads, it reduces noise vibration from the pump, allowing the viewer to focus on the sound of the fountain.”
Frank cut mesh and steel plates to cover the base and prevent splashing. The slots you see around the sides of the sculpture are one of Frank’s latest innovations.
“Because of the size of the basin, I have less latitude with what the water does and how it falls. I knew I had to create a slot around the base of both sculptures so as the water falls it goes into this slot. It worked really well, and I learned something from it. It’s changed how I deal with water capture in a small basin.”
“In every sculpture project, there’s always the opportunity to say, ‘What can I do different in the future?’”
Careful tests of the water flow followed. Frank got the final approval from the client and shipped it.
“There’s a lot of structure in there that you’re not seeing that supports all of the different elements. When all of this is said and done, you don’t see any of that but it’s all happening because of it.”
“I took a good long look at it and liked what I was seeing in terms of how I thought it would look on site.”
Frank’s clients sent back images of the piece in its new home, and the sculptor couldn’t be happier.
“The experience of walking up the steps and around the sculpture must be pretty awesome.”
“It’s interesting, the sculpture is the only thing with curves in the space. Everything else is really hard and geometric. That’s cool that it’s really different than anything else line-wise in the space.”
“When you can have fun going through the process of doing it, for me that’s where my thoughts go when I’m working. There’s a lot of opportunities to have fun.”
“When I saw the contemporary design of the house, I said, ‘Great project.’ I’m really happy that this sculpture became part of it.”