Marta Matray Gloviczki on sat 3 jul 04
kathy,
wall pieces in 4x6x2 or 8x10x3 in inches are not too large,
so they are probably not too heavy.
they can easily be hung on one single nail in the wall, i think.
make a hole in the back of the piece where the nail will fit in.
i usually have the nail in the wall in a 45 degree angle, so i make the
hole accordingly.
so, you dont have to work more on the 'hanging' part of the piece,
than on the actual sculpture. (been there, done that...)
its simple and easy to make the hole, and also easy to hang the pieces or
take them off the wall.
marta
=====
marta matray gloviczki
rochester,mn
http://www.angelfire.com/mn2/marta/
http://users.skynet.be/russel.fouts/Marta.htm
http://www.silverhawk.com/crafts/gloviczki/welcome.html
Kathy Forer on sat 3 jul 04
Not tiles, but sculptures, meant for temporary, long or short term=20
hanging, not permanent installation. Something similar to a painting=20
hanger. Various sizes, about 4" x 6" x 2"d to 8" x 10" x 3"d and=20
larger.
I've drilled or left holes in the past and filled them with epoxy and=20
picture hanging wire wrapped around small bolts or D-rings lodged in=20
the holes, but there must be something more elegant.
I've seen a drawing of a system with two interlocking "L"s, basically=20
like so (where "x" is the wall and "o" is the sculpture: x|L=AC|o but=20=
with short returns on the ends of the els. But I'm not sure how best to=20=
do that with ceramic sculpture: (1) leave an undercut lip in the clay,=20=
fire it and then use that as the sculpture's built-in "L" (is it strong=20=
enough?) or (2) epoxy-mount an upside-down metal "L" -- or unevenly=20
armed "U" -- to the sculpture.
Mounting to a backing board is not a preferred choice. If these were=20
paintings, they'd be unframed, or framed simply with a wood strip.
I've tried a few things but they always seem crude and I'm reluctant to=20=
trust them. Any suggestions are much appreciated.
Kathy Forer
www.kforer.com
Mike Gordon on sun 4 jul 04
Hi Kathy,
I enjoyed your website, very nice figures. I have hung some large wall
pieces, 24" x 18" by attaching earlobe sized pieces of clay to the
backs of my sculpture while they are in the leather hard stage. Just
like a pierced ear. I use multi-strand wire, and stretch it tight, so
that it is not visible when hung. I use typical heavy duty picture
hanging hooks nailed to a stud in the wall. They fit very tight to the
wall and are very secure. Mike Gordon, Walnut Creek, Ca.
Snail Scott on mon 5 jul 04
At 05:44 PM 7/3/04 -0400, you wrote:
>Not tiles, but sculptures, meant for temporary, long or short term=20
>hanging...
>I've seen a drawing of a system with two interlocking "L"s, basically=20
>like so (where "x" is the wall and "o" is the sculpture: x|L=AC|o but=20
>with short returns on the ends of the els...
One means of doing this is what's called a 'museum=20
mount'. This is usually a piece of wood cut diagonally=20
lengthwise. One half is attached to the work, and the=20
other is screwed to the wall. Since the pieces were=20
cut from the same stock, the angle is a perfect fit=20
no matter what, and the use of an angle instead of=20
an 'L' shaped piece makes it very easy to slide into=20
position snugly. (I've typed 'diagrams' of this in the
past; an archive search should turn one up.
I am somewhat distrustful of wood, however, when it's=20
attached to something that doesn't share its tendency=20
to expand and contract with humidity. So, I tend to=20
hang my wall pieces using metal angle stock. For lighter=20
pieces, I attach a serrated piece of aluminum angle to=20
the back of the piece, and this way is can accomodate=20
most picture-hanging hooks, or just hanging on a nail.
(The serrations (made with an angle grinder) keep it=20
from slipping sideways.)
For heavy pieces, I make a matching bracket to screw to=20
the wall. This usually consists of a larger angle stock
in an 'upside-down' opsition, and a smaller size attached=20
to the top of it, spaced so that the top piece is as far=20
from the wall (back of the larger piece) as the thickness=20
of the section attached to the piece.=20
For medium-weight work, I generally rely on epoxy for=20
attachment, but for heavier work, I often supplement=20
that with a mechanical connection (screws, bolts, etc.)
sunk into holes in the clay.=20
The main thing is NOT to epoxy anything to a flat back=20
of the clay. For best engineering, you need to have a=20
'shelf' inside the back of the piece to attach the=20
bracket (whether wood or metal) to its underside. This=20
way, the weight of the piece isn't acting to shear the
bracket loose; it's actually carrying the forces up=20
into the piece. Unless the piece has a huge outward=20
dimension (creating outward leverage on the bracket),=20
most of the forces are acting up-and-down, so take=20
advantage of that with brackets that nest instde the=20
thickness of the piece, underneath a sturdy clay=20
support.
Small, lightweight pieces can be hung by clay lugs=20
or notches, which either support a wire or rest on a=20
nail. The purpose of an added bracket (metal or wood)=20
is to distribute the greater load of heavy work across=20
a wider area of clay.
There are dozens of variations on the methods I've just=20
described, and they all work fine for various purposes.
The common factor with successful wall mountings is that=20
the clay itself is carrying the load directly. An=20
adhesive joint, no matter how good, should only serve to=20
attach reinforcements or act in compression, not to bear=20
the full weight of the piece in tension, as occurs with=20
glued loops or brackets which are flat against the back=20
of the piece.
-Snail Scott
Edwardsville, Illinois, USA, Earth
Donald G. Goldsobel on mon 5 jul 04
The closest industry example of flat sculpture hanging is mirror hanging.=
I
have seen two techniques that are strong and long lasting. They both requ=
ire
that the mirror be glued with a strong commercial adhesive to a backing t=
hat
is hung on opposing wedges - one attached to the sculpture the matching o=
ne
on the wall. The other one requires hooks and wires. I suppose leaving a
flat textured surface on the back would facilitate using the adhesive,
Donald
----- Original Message -----=20
From: "Kathy Forer"
To:
Sent: Saturday, July 03, 2004 2:44 PM
Subject: hanging wall sculptures
Not tiles, but sculptures, meant for temporary, long or short term
hanging, not permanent installation. Something similar to a painting
hanger. Various sizes, about 4" x 6" x 2"d to 8" x 10" x 3"d and
larger.
I've drilled or left holes in the past and filled them with epoxy and
picture hanging wire wrapped around small bolts or D-rings lodged in
the holes, but there must be something more elegant.
I've seen a drawing of a system with two interlocking "L"s, basically
like so (where "x" is the wall and "o" is the sculpture: x|L=AC|o but
with short returns on the ends of the els. But I'm not sure how best to
do that with ceramic sculpture: (1) leave an undercut lip in the clay,
fire it and then use that as the sculpture's built-in "L" (is it strong
enough?) or (2) epoxy-mount an upside-down metal "L" -- or unevenly
armed "U" -- to the sculpture.
Mounting to a backing board is not a preferred choice. If these were
paintings, they'd be unframed, or framed simply with a wood strip.
I've tried a few things but they always seem crude and I'm reluctant to
trust them. Any suggestions are much appreciated.
Kathy Forer
www.kforer.com
_________________________________________________________________________=
___
__
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Kathy Forer on mon 5 jul 04
Thank you, dear clayartists. It's wonderful that someone can ask a
question and get such excellent and generous responses in reply.
All of your various suggestions make sense and provide a good technical
vocabulary for getting started. I had quite forgotten how to solve my
technical problems, but soon I'll be happily making nail holes,
keyholes, lugs, earlobes, wedges, french cleats, loops and museum
mounts. And endeavoring to have the pieces as close to the wall -- to
eliminate shear -- as possible.
Kathy
clay pit creek, Locust, NJ
| |
|
