When a classical statue is commissioned, especially (as in this case) a female Venus De Milo figure with flowing clothing, instead of sculpting every fold of the fabric's texture, as would be the case if the only material used to make the statue was clay, the most dramatic drapery effects can be achieved by dipping specially cut sections of canvas into freshly mixed batches of plaster and then placing the canvas onto the Venus De Milo statue where the ancient Greek toga clothing should be with every fold included. Incredible and impressive cloth draping effects can be engineered in this way fold by fold.
First our sculptor had to build an armature out of two by four wood planks and steel rods at the core surrounded by chicken wire attached to the wood with staples. The trick to building a proper armature is to get the basic angles and proportions of the statue absolutely correct. Then the outer surface is built with the aid of cutout sections of fiberglass matte dipped into small batches of carefully mixed plaster - just like a paper machete project in school, only with plaster instead of flour and fiberglass instead of newspaper. The trick at this stage is to leave room for the towel, or dress, wrapped around the waist of the Venus De Milo - that must be added later on. One major fold and crease must be created one section at a time by dipping, folding, and nailing the canvas into place and allowing it to dry until the entire clothing of Venus De Milo is finished. In this manner, any dress imaginable can be sculpted and painted with any finish faux texture and color imaginable.
This concept can be applied to window drapes, or door drape box coverings, and can be sculpted to look like the real full shape of fabric drapery while actually being only a sculpture. Many times real fabric drapes get old, fade, become soiled, and are too flat - lacking the fullness that can be created with sculpted drapes by our artists. If you would like our art department to make custom sculpted draperies of your home, or custom drapery boxes for your windows, we will need the measurements for each drapery window section you want, and we will either complete the drapery sculpting on-site (to ensure everything fits as it should) or we can sculpt the draperies in our art workshop and carefully pack and ship them to your location ready for installation by your people, or you may choose to have our staff install them for you. Since we also provide a wide array of faux finishes you can pick a faux texture to paint your drapes with and choose to have them painted before they are shipped, or we can paint your drapery sculptures after they have been installed on-site, just in case there needs to be any touch-ups later on.
Many times in the art creation process it is difficult to put the name of just one artist to an artwork since a sculpture is rarely worked on by just one sculptor, unless it is a relatively small sculpture, and even then two or three sculptors may be utilized to finish it completely. Multiple sculptors commonly work together on an art piece in a skill based hierarchy with the master sculptor doing much of the bulk shaping and refining work until it gets to a point where the apprentices can provide help and reduce the work load on the master sculptor by helping sand, fill, and prepare the final texturing to an artwork. Often a single sculptor tends to lose energy, and momentum, on an art project after spending weeks, or even months, perfecting a single sculpture. Instead of forcing the already spent artist to continue working, a nearly equally skilled sculptor, or an apprentice, can step in to put the finishing details together with a fresh perspective, and insure the artwork is symmetrical and finalized. Often it takes an outside perspective of at least two sculptors to see the things that an isolated artist "in the trenches" might otherwise unintentionally overlook. We view the creation of art as a collective process, as it has always been since the time of Leonardo De Vinci, with a better end product resulting by having more skilled people involved than just one artist. When several sculptors put their heart, soul, blood, and sweat into a sculpture it is not unlike a piece taken from the body and life force of a master sculptor... that's why they call it a masterpiece!