Interior Sand Sculpture - Planning and Set Up
Where weight is a problem there are solutions. Meeting with technicians, architects and engineers,
the correct weight combination is found and a method.
The weight of the sculpture and the technical details should be looked at, the floor tolerance, position of the
heavy sculpted elements, routes of entry for the sand, visual considerations, points of view and other details.
The sculpture begins with a base. It is made of wood boards on the sides, plywood on the floor, and sealed
polyurethane plastic sheeting under the plywood. This protects the floor and keeps it dry and is put into place at the same time as plastic polyurethane fabric or "poly" sheeting to protect the floor from bobcat tires. The first rule is that floors are kept clean and areas around sculptures should be spotless.
The sand I find locally by testing different sources and getting the best sand regionally.
People relate to sand that looks like sand they are familiar with.
When the base is built and positioned , sand can be brought in.
I was first in before the exhibitors arrived at this conference center and could move freely
Moving the Sand
Sand can be brought anywhere. I've moved sand into places that would surprise. Large amounts of sand can be brought into town squares, parking lots, festival grounds or anywhere a man can walk. Ideally being able to bring a sand truck to the spot is best, but adaptation is necessary as in many cases.
Small tractors or bob-cats are used to bring sand into indoor events, expo sites and shopping malls. They fit in tight places, such as through narrow doorways and are light for the floors. Though they can't carry much sand, they are quick. Many tons of sand can be moved in a day if the distance between the sand delivery spot and the sculpture site is not too extreme. The longer the route, the longer it takes to move the sand. Short routes are best. Sand should be kept off the floor, though when moving sand it can happen that it gets on the tires and clouds fine marble.
Finishing the Set-Up and Preparing For Sculpting
The route is cleaned after the site has been compacted,or put in place and the site arranged for the next day when the first boxes are opened and the sculpting begins! The forms are filled here on the front of this castle and cathedral. The wooden forms at near right are topped with sand compacted into a plastic garbage container. This will be the main tower of the castle. Extra height is attained with minimal effort.
Moving Down and opening boxes
A sculptor has opened the forms and is detailing. He works down from the top, finishing everything above before removing more box forms for sculpting. See how the forms are built in the corner.
The sand will set up and begin to dry when exposed to air. The sand is sculpted when humid, so the sculpture must go fast as to re-humidify the sand is not the same as a fresh block opened from a brick where the humidity is inside the sand block and dries from the outside. When the sand dries and you add water from a spray bottle, the sand behind sucks in the new water and it is difficult to work. The more sculpting, the more air reaches the surface, like a radiator, and the sculpture dries faster.
The base will contain the sand generated by the sculptor and may be used for other small forms.
Lights have been added to the windows and the cables are hidden inside the body of the castle. This involves cutting out parts of the finished castle and pinning the wires and lights in the windows and hiding the wires in slots cut into and around the towers and walls. These are repaired after testing the light string. They are operated from a switch hidden in in the base and can have effects, like twinkling. Its very effective at nigh and has a very romantic feel to the sculpture when lit There are several types of lighting that can be used in combination, reflective, where the space is lit, direct, where the light is directly on the sculpture, and from within, where lights emerge in critical spots, like the example here, in the windows.