Direct steel sculpting

[WolframK]

This is my first post within sculpture community and I want to present a very unique work and technique for steel sculpting to the community. In 1991 Ludwig Haas, an Austrian sculptor, had the idea to transfer a method of two dimensional steel cutting into third dimension. By the use of a heat point of about 4000 degrees and air pressure (so called "ARC air method") he melted off the outer layers of stainless steel blocks and by doing this he found a simple access to an unknown "classic" route for creation of fascinating iron and steel sculptures.

Since 2000 I have been supporting him with marketing and promotion and found a good friend, an outstanding artist but ´
nothing compareable within sculpture art.

Latest sculpture work you can find at: http://www.uniquesteelart.com/index.htm
Learn about idea and method at: http://www.uniquesteelart.com/e102-glowing-steel/index.html

[philpraxis]

wow!

Very peculiar, I love the result! I just think this is stunning!

I would love details on how this works, actually, I think one of the best way to promote a work which relies heavily on a new technique is just to leverage this technique by giving workshops in different countries:
- people would love it
- his art would be known through this
- several people will look at this with a different angle, advancing the concept further

Lemme know if the idea has an appeal, we have room and contacts to organize one workshop in Paris, France.
I would say though that the best place to organize such thing would maybe be Berlin and London as these are the places where the art scene is the most lively.

Best,
Philippe Langlois.
http://www.xlrmx.org

[fused]

I don't quite understand the assertion, At the beginning of 1990 he concentrated on iron and steel - he was the first to successfully master classic sculptures using these materials.

The majority of the forms don't appeal to me, but the working method and the surfaces achieved are fantastic.

[WolframK]

You are right - the assertion is not fully clear - I will correct it. It was meant that via his unique method Ludwig Haas was the first who got access to pure ("classic carving") three dimensional steel sculpting.

Regarding the form language please see some older works:
http://www.myphotoart.com/artwork-sculptures/index.html

or some latest impressions:
http://www.grafikboerse.de/gdm/kunst_des_monats_0406.htm

Kind regards WolframK

[anatomist1]

The technique is interesting and the texture is definitely unique. A few of the sculptures are compelling, but I have to agree with fused about the composition and forms on most of them. I also find the rhetoric on the site overdone and offputting... almost reminiscent of The Futurist Manifesto and other early twentieth century manifestoes.

As far as the claims about inventing the first technique for carving steel, he may well have invented the particular device he uses, but oxy-acetylene cutting torches do what many would consider "carving" of steel, and have been around for about 100 years. It appears the process he is using is technically almost identical to what a plasma cutter does, which was invented in the fifties. Maybe no one has thought to 'carve' sculptures out of chunks with these tools in all that time, but I kinda doubt it.

[Duck]

The technique is interesting and the texture is definitely unique. A few of the sculptures are compelling, but I have to agree with fused about the composition and forms on most of them. I also find the rhetoric on the site overdone and offputting... almost reminiscent of The Futurist Manifesto and other early twentieth century manifestoes.

As far as the claims about inventing the first technique for carving steel, he may well have invented the particular device he uses, but oxy-acetylene cutting torches do what many would consider "carving" of steel, and have been around for about 100 years. It appears the process he is using is technically almost identical to what a plasma cutter does, which was invented in the fifties. Maybe no one has thought to 'carve' sculptures out of chunks with these tools in all that time, but I kinda doubt it.

Gouging rods have been around for a long time, primarily used to remove welds that are hard to get to with a torch, plasma cutter, etc. Like Anatomist says...theys a whole lot of ways to remove metal. :)

does look cool/different

duck

[Biomorph]

A very interesting technique. I think this thread touches on a question that is not given the attention that I believe it deserves. That is, the extent to which sculpture these days is so largely a search for technique. The forms and imbedded meaning are less important than the invention and the novelty. We gain in significant explorations that traditional sculpture ignored, but we have lost the competitive craft of trying to better, over and over, and little by little, a traditional form. No one dares say that something is more or less good if it is new. The scope and inventiveness is mind stretching and wonderful, but, at the edges the ugly word "gimmick" is always lurking. biomorph

[ironman]

Hi, I don't care for the forms, but I do like the technique (his may be new OR new to him) even though steel has been carved for years.
It is so true what Biomorph has to say, especially that last sentence!
Have a nice day,
Jeff

[dawn]

I agree with Biomorph. In this fast moving world we are living today, it is conceivable that everyone wants to catch people eyes first, thus all the "gimmicks". There seems no time for "brewing" anymore.

[Duck]

Likewise no one dare say today’s boring traditional works are contrived copied styles. To sculpt another granite or bronze nude woman is probably a good technical exercise and an admiral accomplishment once the skills are perfected, but at the edges the ugly word "gimmick" is always lurking.

duck

[Ries]

A lot of people who actually know what they are talking about are going to dismiss the work if you insist on hyping it with such silly blather.
You only detract from the actual merit of the work by trying to make it into something it is not.
Everything has been done before- as Mark Twain once remarked- " I hate those Greeks- they already had all the good ideas" or something to that effect.

First, Direct Steel Sculpting goes back as long as there has been steel-
there is a very old technique, sometimes called "eisenhowering" where steel is carved with a hammer and chisel. This is about as direct as you can get.
I know a guy, Ward Grossman, a blacksmith from Wyoming, who has been doing this for longer than your austrian sculptor-he studied medieval sword hilts that had been direct carved in wrought iron while in London, and know demonstrates this technique in steel, stainless steel, and wrought iron.

Second, the Arc-Air torch itself is a commonly available commercial product, and the technique he uses is common in shipyards since at least 1970, called "gouging" and it is used to prepare heavy sheets for welding by making bevels, as well as to cut existing welds and remove features.

Third, many people do similar work, but not "EXACTLY THE SAME". And many of them use a plasma cutting torch, which will do the same thing, only a bit quieter, more controllable, and with less nasty hot spatter being blown around. An Arc-Air torch is one agressive beast to use.

None of this is to put down his actual sculpture- which is fine, although not to my taste. But it is not, at least in the USA, any kind of miracle breakthough- its just an extremely hot, noisy, and labor intensive way of removing material, which results in a particular look, which some people may like, and others may not.

There is always the divide between reductive techniques, which remove material from a larger block, like this, and additive techniques, like fabricating from plate or bar, and constant volume techniques, like forging, or casting, which merely rearrange the volume of metal.
None is intrinsically "BETTER"- each gives a different look, and many sculptors use a combination of all three, depending on the piece, and the look they are after.

[WolframK]

Uiiih - a lot of messages - I will try to answer them all together.

Lets start with the method first: Despite some doubts I am convinced that Ludwig Haas opened a new chapter of steel sculpture art which opens access to new forms and shapes within sculpting.
When Phillippe Clerin published his book "the steel sculpture" in 1995 he mentioned the ARC Air method (page 192) as a potential attractive method for surface effects "but he does not know any sculptor who uses this technique".
At this time Ludwig has been working for 4 years not only with surface effects but with a full sculpting concept based solely on "ARC air Hohlmeisselverfahren" and he was using it for the first time as a 100% reductive carving technique. In contrast to pure cutting (via different methods) or different trials to draw with a storch on a steel surface Ludwig Haas independently has started to utilize a versatile method for the unknown creation of three dimensional sculptures.

Thereby he realized his personal vision of differentiation from all others acting in the field of sculpture work - which is a necessary basis to concentrate on expression. He found his personal way of method and expression and it seems to me very unfair of some within the community to put such artists as fast as possible into the next corsett they can find (maybe that of their own mind).

The consequence of Ludwig Haas "to begin where most people end their efforts" resulted in an absolutely unique sculpture work. I invite all those who doubt to show me something compareable.

Secondly - Form language is a manner of taste but it is the willingness of Ludwig Haas to express his sculptures in a way which keeps maximum space for observers interpretation. I do not want to comment it in detail in this section.

The input regarding the homepage makes me very sad because I put my heart into this new site. I switched the concept from expressive method documentation to more sensual artist concept presentation. Nevertheless - as english is not my mother language I apologize for using "overdone" terms or even explanations.

[philpraxis]

Well... don't be offended WolframK, just stating being "unique" and "the first" is usually a good way to get people to react: you succeeded ;-)

Also, a website is indeed a permanent effort as it is a communication, and feedbacks are constantly improving it, especially negative ones if you can transcend them.

Actually, sculpture could be like this, except that each time you create another sculpture and see how people react to it.
At least, that's now what I do as I tend not to show work if I don't consider it "finished". Models are there for: they can be finished and yet be only the first stone of a big serie.

I think Biomorph, ironman, dawn and duck have put their finger on another problem around here: Research depth.

I would say that it's a huge problem alongside with readability, endorsing fully your own work and being able to see both sides of artistic work (the sensible one and the business/market one).

I would like to express to you all my deep sympathy for the work you're (we're) putting into producing better art and discuss collectively these difficult problems and their creative solutions :)

cheers
philippe

[Arrow]

I think the website is very professional. Only thing I would add is the dimensions for each sculpture. Hard to tell how big the sculptures are.

I'm glad you include the "glowing steel" page to show the process.

[Ries]

I dont know anybody who has heard of Phillipe Clerin- or his book. It does not appear to be available in the USA, either new or used.
Hence I am totally unable to evalute how comprehensive a book it is on steel sculpture fabrication techniques.
However, I am sure that sculptors such as Mark DiSuvero were using Arc Air torches as early as 1970.

Now, were they making sculptures just like Mr. Ludwigs?
Of course not.

His sculpture is, without doubt, his own.
And that should be what you captialize on- his own artistic abilities, vision, and the work that results from his unique mix of experience and ideas.

Not this silly "first ever" stuff.

[anatomist1]

At this time Ludwig has been working for 4 years not only with surface effects but with a full sculpting concept based solely on "ARC air Hohlmeisselverfahren" and he was using it for the first time as a 100% reductive carving technique. In contrast to pure cutting (via different methods) or different trials to draw with a storch on a steel surface Ludwig Haas independently has started to utilize a versatile method for the unknown creation of three dimensional sculptures.

Thereby he realized his personal vision of differentiation from all others acting in the field of sculpture work - which is a necessary basis to concentrate on expression. He found his personal way of method and expression and it seems to me very unfair of some within the community to put such artists as fast as possible into the next corsett they can find (maybe that of their own mind).

The consequence of Ludwig Haas "to begin where most people end their efforts" resulted in an absolutely unique sculpture work. I invite all those who doubt to show me something compareable.

You still sound like you are trying to convince us that he is doing something super-duper and unprecedented, like inventing a cold-fusion reactor or something. As others have said, this might impress the ignorant, but in a forum full of experienced sculptors, this basically amounts to throwing down a gauntlet. Everyone's sculpture is unique to some extent, it's just that most people don't brag on it PT Barnum-style.

To me, it looks like his 'unique' method of ONLY using the air-arc is obviously contributing to the stilted, blocky forms that make most of the pieces unappealing to me. I don't understand the virtue of not using other, more efficient methods for roughing out the forms. It seems like a hindrance to more agressive shaping that could lead to more fluid, interesting forms. He, you, and others may like this, and that's fine. As Reis said, you could avoid all this by just speaking in less grandiose, more personal terms. Without all the emphasis on trumpeting the process, I would have assumed the blockiness was deliberate style instead of being led to speculate that it is the by-product of technical difficulties.

[Duck]

>>>The consequence of Ludwig Haas "to begin where most people end their efforts" resulted in an absolutely unique sculpture work. I invite all those who doubt to show me something compareable.<<<


well,...I’ve been working on a little something for my sons 29th birthday, using the very technique, I’ll post a pic when it’s finished (august 9th)

duck :)

[JAZ]

WolframK,
The interesting surface texture and Ludwig's method of doing reductive steel carving "in the round", that is, in 3D, are well worth pursuing. The patterns add a tactile quality to the pieces. If Ludwig continues with this method he could distinguish himself as someone who works exclusively. It is a good thing to find something intriguing and explore it fully.
The websites are visually professional and clean. I agree that including sizes would help the viewer get an accurate picture of the work.
In writing there is a saying, "show, don't tell", that applies here. The trouble that you are running into is that you are trying to tell the viewer what to think rather than allowing him/her to draw conclusions themselves.
The important thing is that Ludwig's work does look distinctive and he has set himself on a path that is worth exploring.
I have nottried Ludwig's 3D method, but I have played with reductive surface texture a bit. The piece with the door is the second thing ever that I made with steel.
I wish Ludwig well as he explores this method of working.
JAZ

[JAZ]

Small wall pieces. Again, not 3D, but it's the surface textures I was interested in.

[WolframK]

JAZ
Thank you for showing me some pieces of your work which contain elements of reductive texture surface. I like it very much!
Style and content of your argumentation I understand and agree. Such comments (also of philpraxis or others - thank you for that!) will be reflected and integrated in the style of my presentation.

The work Ludwig Haas itself is what it is.

I like it and it differs from method, quality and form. In Europe I have not seen any compareable art and this discussion with mainly US artists indicates that maybe some have touched the technique but none has used it (or presented it) as an good opportunity to perform extensive 3D stainless steel art.

[Duck]

Wolframk, I do admire your determination and commitment to Ludwig and his art. I wondered if you work exclusively for him or if you might consider representing other artist? Many Artist lack the skills to be successful in the art business, and I suspect there may be several here on this forum that would welcome the chance to have an aggressive representative like you in their corner. I personally don’t have any art right now to sell, but I could later on. :)

duck

[WolframK]

Wolframk, I do admire your determination and commitment to Ludwig and his art. I wondered if you work exclusively for him or if you might consider representing other artist? Many Artist lack the skills to be successful in the art business, and I suspect there may be several here on this forum that would welcome the chance to have an aggressive representative like you in their corner. I personally don’t have any art right now to sell, but I could later on. :)

duck
Duck
I am sorry - but there is no space for further activities or representations at the moment.

Nevertheless - I respect your question as it comes straight to the point of demand many artists have. They need a gallery representation or a promotion concept which helps them to come out of the edge of anonymousness.
One basis for this is a convincing and identifiable art concept. Those who do this and that need very strong means of expression to be identified or be paid attention. If your method (technology) is clearly associated with your work you have one important piece of the puzzle. Expression, relevance of the topics and serious comittment to your art work are others. Strong visions and a sustainable concept of realization may be a key condition for success.

Based on this you can set up with good promotion. But there is a very narrow market of people who supply serious help and service. I am aware of this. You need an art lover, an professional art insider (with excellent contacts), a promotion genius and a samaritan or a lot of means at the same time...

But better to have a good friend with some of these skills than doing everything by yourself. Good luck and the best to you!

[Duck]

Thank you very much Wolf for taking the time to reply. I wished there were more folks like you on these forums to help with the marketing part of art. I’ve seen some outstanding works and artist on these forums and one of the more common themes echoed by these very talented artists is the frustration they encounter with regards to galleries, marketing, etc., of course as a newbee with a whopping six works so far and five are more of a test of technique than art, for me, your services would function more as an adviser, but hey, who knows :) ….hope you stick around here for awhile. Thanks again.

[WolframK]

First, Direct Steel Sculpting goes back as long as there has been steel-there is a very old technique, sometimes called "eisenhowering" where steel is carved with a hammer and chisel. This is about as direct as you can get.
...
Second, the Arc-Air torch itself is a commonly available commercial product, and the technique he uses is common in shipyards since at least 1970, called "gouging" and it is used to prepare heavy sheets for welding by making bevels, as well as to cut existing welds and remove features.

Third, many people do similar work, but not "EXACTLY THE SAME". And many of them use a plasma cutting torch, which will do the same thing, only a bit quieter, more controllable, and with less nasty hot spatter being blown around. An Arc-Air torch is one agressive beast to use.
...


Ries
coming back to pure technology discussion I disagree with key parts of your technical argumention as this suggests
A. "there are a lot of available methods, Ludwigs method is maybe somewhat different but not new for sculpting" (your "third argument")
B. everybody working with steel art knows widely applied Arc air method ("second argument")
C. Eisenhowering is the basic idea for direct steel sculpting ("first argument")

Ad A. Steel sculptors can use plasma methods with cut nozzle or nut nuzzle. Problem of nut system (which you maybe compare with arc air - but you should test it by yourselves) is that you can do only straight structures or at a maximum a slight arc. Circle structures are not possible. Furthermore the precision of this method is not very high (less controllable!). Because of the short electrode system (8 mm compared to 30 cm with Arc Air) also efficiency of reduction is limited and you cannot work into depth at one point or location, you are missing degrees of freedom which you need for three dimensional structure creation. That means you can work out of the material only limited (straight or paralell) structures which result in reduced expression.
Same is valid for laser and oxygen methods, which you can use in this context primary as cutting methods.
The result of all methods is compareable to that "of a chainsaw with wood " but not 3D sculpting where you move your ideas and hand in a very flexible way in different directions.

Ad B. Yes many people use and know Arc Air for gouging but there is no indication that this was applied in that conceptual way which was proposed by Ludwig Haas. Even this week we got a request to our guest book which I would like to quote:"

Christopher R. Ellertson (Canada) wrote:
I am completely enthralled, drawn in and becuase of my entangled creative mind I have found somebody who creates with gouging. ...

Ad C. Eisenhowering is an old smithonian method to split iron but there is only a limited 3D shape creating process possible. Furthermore there are restrictions to use this method for alloyed steel.

Arc air method can be applied to nearly all conductive metals. Aluminium the same as cast iron, or all sorts of very resistant steel alloys.
So the method is not only flexible and efficient in 3D structuring but also versatile in view of many materials.

[Studioinde]

I think all this talk about inventing a new technique is beside the point....It is not what is important about this artwork. I find the sculptures to be really captivating. I find them to be quite expressive, and really enjoy the surfaces created. I don't give a damn at all if the artist was the first one to do this or not (although I must admit that I am skeptical whenever I hear claims such as this). Reductive methods of sculpture have been around since before recorded history, regardless of medium, so that arguement is boring and pointless. I think it would be more profitable to discuss the expressive manner in which the the technique is used, and it would probably go over much better with artists (like most of the people on this forum), and with art business insiders like gallery owners and critics as well. Just a helpful suggestion, Wolfram.....
Regards,
Brian Ferriby

[Gene]

Amen Brian!!...

Ultimately is has to be about 'The Art'... the 'deep hidden meanings', the 'unique' production techniques, and the long list of an artist's 'credentials' are all just 'marketing hype' that tend to turn people off... Ultimately, 'Its the Art baby, the Art!'
Gene

[WolframK]

Gene and all others
..so let´s see ART made by "3D direct steel sculpting"
http://www.sculpture.net/gallery/showgallery.php?cat=500&ppuser=3647

[wulicny]

WolframK and Others,

I am new to this community (as of a week or so), and I am not an artist. But, my grandfather considered himself to be one (though he never showed or sold his works, with perhaps one or two exceptions). I am now in posession of his 5 or 6 dozen pieces, consisting mostly of 6" to 12" tall heads, bodies, and cameos created from stainless steel blocks and welding rods and tools. These were all created in the 60's thorugh the early 80's.

My grandfather was not a trained artist, but rather a gifted (I think) artisan or craftsman. He was employed in the US steel industry his entire life as a welder. He became known in that industry for having a talent for specialty welds and completing difficult tasks that most welders could not attempt.

In most of the pieces, a block of stainless steel was shaped using gouging rods. Welding rods were then "melted" onto the surface to create the images or features of the pieces. Another interesting feature, that he liked to consider one of his "trademarks", or "signatures" was a ripple effect on the steel bases of the sculptures. It appears he may have used a similar technique as Mr. Haas has used.

I will post some thumbnails as soon as I can - likely over the weekend (but I may get ambitious tonight). I am curious what the members of this thread will think of them.

Bill U.

[wulicny]

Here is an example of what my grandfather did on several of his pieces. He considered it one of his "signatures". Keep in mind, that my grandfather considered himself an artist, as do I; however, he is likely more of a craftsman than an artist, as he had no training in art outside of high school.

Bill

[anne (bxl)]

I dont know anybody who has heard of Phillipe Clerin- or his book. It does not appear to be available in the USA, either new or used.
Hence I am totally unable to evalute how comprehensive a book it is on steel sculpture fabrication techniques.

Philippe Clerin the author is belgian and his book is the bible of the metal sculptors hereover. I have it in french. Don't know about translation. Anyway, he just mention the technic of blocks cutting without details. maybe does he in more recent edition than mine.
Title :"La Sculpture en Acier"
Ed. Dessain et Tolra, 1993.

[WolframK]

In context of direct steel sculpting or steel carving (associated with the names of Ludwig Haas and Russel Whiting at sculpture.net) a further remarkable work should be mentioned. Ludwig found it some weeks ago. The sculptors name is MACHAT - she is from France.
SEE and enjoy:
http://www.machat-sculpteur.net/

Kind regards
Wolfram

[RWJR]

this is excellant work, really showing the nature of steel & torch. those are the textures you would see in any shipyard or fab yard , under the cutting tables. thanks for showing this work. influences of harold cousins and a few other obscure sculptors, but she's really got a handle on this technique! Those figure are beautifully balanced and look like they are made of fragments that are held together by unseen forces
fantastic, Russell Whiting