Sculptural
Restoration of Carole Crews' Home
(enlargements coming
soon!)

I was introduced to the world of clay-plastering and adobe/cob sculpture from a friend I knew while living in Taos, New Mexico. Carole Crews is an artist who is an expert in the world of earthen finishes. When I discovered that she was teaching a workshop on clay plastering at her home in Tres Piedras, I knew I had to get involved. Little did I know how much this course could change the way I look at buildings and art. In fact, I am realizing that I have a very strong response to art which is wed to architecture. Carole's completely hand-built home is an artwork in itself, as it has unique details that no manufactued home can beat. A hand-built earthen building feels warm and welcoming. Its surfaces invite touch. It breathes, it flows. And it uses the earth in a gentle way, wedding its design to its natural surroundings. While I was involved in various projects that involved the use of different types of clay finishes applied to her adobe and strawbale walls, I was also strongly attracted to the sculptures that were built into some of the walls. I volunteered myself to restore these, as they were cracked and deteriorating from sustained exposure to the harsh environment of the mesa sun and snows. |

Courtyard Sculptures, Before Restoration
| "Our Lady" had started to deteriorate from over-exposure to the western sun. She had also been frozen in the winters, and when the snow and ice thawed, water seeped inside of her layers, creating cracks and discoloring the finish coat (an "alis" made from colored clay slips). In order to repair it, I had to peel off any layers that were loose, then add layers of clay that was mixed with straw, sand, and dung. |

Without
her painted dress, "our lady" stands in her natural splendor,
welcoming visitors to the courtyard entrance. The domed roof behind her creates a surreal backdrop. |
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| When I began the gargoyle and bird (on the opposite side of the arched entrance), there was barely a hint of the sculptures that were there before my reconstruction. I started with the gargoyle, letting the form evolve in my hands. I began with a human face, added cat ears, wings, breasts and claw hands. The bird beside her opens her mouth in a squaking gesture. Given free reign to create as wild creatures as I wished, my imagination surrendered. This project led me to an invitation to work on the restoration of bas-relief sculptures at the home of Jean-Luis Bougeouis... here, I was again allowed to use my intuitive knowledge of working with mud. This was such a nice departure from my more tedious painting projects. |
See Pics from Carole Crews' Clay-Plastering Workshop