Clear outlook for acrylic sculptures: with technology improving and new colors, finishes and forms, acrylic has become sculpture's material of the moment

Art Business News, July, 2003 by Debbie Hagan

Few acrylic sculptures have classic elements that enable them to fit easily into any home decor. Many look distinctively contemporary, as with the popular "Hair Pin" sculpture by Pease Acrylics. It's a beveled, prismatic acrylic formed into a twist. "We ship a lot to California and Florida. There are regional pockets where we do especially well," said Pease. However, he admitted that he doesn't ship many to the Northeast where the decor is more traditional and colonial.

"The homes around where we live in Chicago are one-million dollar homes," said Pease. "They want custom and uniqueness--one of a kind. They might call us and say, 'Hey, I love that piece, but I have a 42 inch niche.' So we scale it to fit."

Robert Noto of Fine Art Acrylic said he is surprised to find that "bigger pieces are selling better. I thought it would be the smaller pieces because of the economy." Noto said "Flame of Love," created by Kujtim Qama, which measures 15 by 13 by 29 inches and retails for $7,200, is a popular sell. The sculpture is of a lit candle embedded with the faces of a man and woman about to kiss.

According to Noto, acrylic sculptures have an advantage over bronzes. "Acrylic has that fourth dimension--light," he said. That potential, he believes, has not been frilly tapped.

Light is what drew artists Calder, Nevelson and Hart to acrylic. One expects this is the aspect that will continue to intrigue artists and encourage further exploration. "There are new and exciting technique coming out," Meisner said, "they're just too new to discuss yet."

Making Acrylic Sculpture

Mitch Meisner of Meisner Gallery has been working with acrylic sculptures for 21 years. Creating an acrylic sculpture involves a myriad of fine-tuning measures and an experienced staff. Essentially the process involves four basic steps: model creating, mold making, casting and finishing. During the first step, the artist fashions a model out of plaster, epoxy or another strong material. The model must contain all of the features the artists wants in the final version. Unlike bronze, additional material cannot be added to acrylic after it is cast.

Next, a mold captures all of the model's details. To be sure all of the sculpture's fine details are transferred to the mold, a flexible material is used and high pressure is applied.

After the mold is created, the acrylic is screened for impurities in a hospital-like clean room. UV-protective agents are mixed into the acrylic. Next, the acrylic batter, which is the consistency of cold honey, is poured into the mold. The mold is pressurized so the acrylic will seep into the smallest crevices. Under heat and pressure, the acrylic cures.

When ready, the sculpture is removed. At first, the sculpture looks opaque. To achieve a clear finish, Meisner sands and polishes the surface by hand. A homogenized frosting is created by blasting the surface with a mixture of glass and aluminum. To wrap up the project, the artist visits the studio and signs the finished sculptures.