New Patina for Harriet Tubman Bronze Bust

I absolutely love the new patina on my portrait bust bronze "Fierce, the Triumph of Harriet Tubman"! Simplicity is my new mantra. The simplicity of the Chinese Brown patina is warm and human and I'm thrilled with the results.

The act of patination of bronze is so very different from my patina of transparent glazes on fired ceramic. I found that what glowed with beauty and subtle depth through glazing on my clay work didn't always translate the same when hot patina was applied to bronze. The color and nuances in hot patina are completely different. So rather than try to emulate my glazes on ceramic, I decided to work in more traditional bronze patinas and have learned that these choices are indeed, the more subtle approach that I love and allow the beauty of the bronze and the tooling of the the sculpture to shine.

Every day is a new lesson in sculpting and how every component impacts the piece, from the size of the sculpt to the choice of clay for expressiveness to the attitude of the subject, the patina that colors it, down to the base that supports it.... all these decisions are so important to the beauty and balance and statement of the final art.

Harriet Tubman, Conductor of the Underground Railroad is being honored in 2013 - the 100th anniversary of the death on an American hero.

Harriet Tubman Bronze Available for Purchase

2013 ~ the year of Harriet Tubman, honoring an American Hero.

"Fierce - The Triumph of Harriet Tubman" Life-sized bust of Harriet Tubman cast in lost-wax bronze mounted on a black marble base.

You can see the creation of the original ceramic portrait sculpture of Harriet Tubman on my website.

The lost-wax life-sized bronze is now available for purchase. This is a small edition of 9 and the first one has already been sold to a private collector in Kansas.

$2750 (shipping $35 - please contact for shipping quote to countries outside of U.S.)

Purchase safely with Paypal, credit card placed over the phone, money order or check. Payment plans are available, please contact me for information.

I carefully selected an earthy and heavily grogged stoneware clay for this sculpture. The rugged body of this clay, with it's gritty aggreates and the expressive tooling of the clay combine to give a heaviness and world-weary feel to her face.


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People often wonder where inspiration for art comes from. In this particular instance, I was reading two books simultaneously, as I often do. The books were unrelated and not historical, however on the day that I was reading them, they both made a reference to Harriet Tubman - the Conductor of the Underground Railroad. The coincidence provoked a distant memory of studying about her in school and renewed my curiosity about her.

This led to the reading of several biographies of Harriet, where I learned of her immense strength, courage and business acumen. She was a tiny but tremendously strong woman who suffered a terrible blow to the head in her youth while protecting a fellow slave from an overseer. This injury left a scar on her forehead and life-long seizures that renered her unconscious at times. In her later years she went on to campaign for women's suffrage and created a home for the aged.

After reading all I could about this amazing woman, I took time to contemplate her character and then endeavored to sculpt a bust of Harriet Tubman that embodied her ferocious soul - defiantly rising above the restraints set upon her. As this was such a personal journey for me, the original fired clay portrait will not be sold and will remain in my studio with me.

Wax chasing Harriet Tubman for bronze bust

Publishing deadlines have delayed my sculpture a bit and I've fallen behind. I have two waxes of "Fierce - the triumph of Harriet Tubman" ready to be chased and taken to the foundry that I need to complete.  Each and every bronze goes through a lengthy process. The sculpting of the original is only the beginning. After a multi-piece piece mold of the original is made a rotational, hollow cast of wax is made. This wax will likely have seams from where the mold rubber is joined as well as bubbles and other imperfections. Whatever your wax shows will also be shown on your bronze casting - so care must be taken to make the wax casting impeccable. 

Now that I've chased one wax, it's time to chase the second one and then run them both down to the foundry. There are several foundries that I use and for this particular bronze, I'll be using Madd Castings.

Sold - Harriet Tubman in bronze

This weekend was the Loveland sculpture Invitational held in Loveland, Colorado. While quite hot on Friday and Saturday, it was a comfortable on Sunday.

I had a very good response to my sculptures and was especially glad that I paid the rush fees to get my bust of Harriet Tubman finished in time for the show, as she seemed to be a favorite not only of mine, but of the people that viewed her at the show.

I have named the bronze of Harriet  #1 of 9 edition- "Fierce", as she was indeed fierce, brave and very smart. She's been carefully packed and is en route to the collector in Kansas City, Mo.

A new order for the #2 of 9 of "Fierce" will be going in next week.

Now that the show is over, I'm going to take a few days off for some much needed family time before starting back up in the studio on Monday, Aug 20th.

Finishing ceramic clay portrait of Harriet Tubman

 Harriet was very inspiring to sculpt. I took longer than I needed because I tried out different sculpting techniques from very impressionistic to fairly tight. I have to say that I really liked the looseness of the impressionistic version - so full of energy. However, as she neared completion the strength of her personality and her face competed with the strong strokes of the very loose version.

So I continued to refine until I felt that I struck a balance of free strokes and polish. The clay is a very heavy, firm, groggy clay called Chestnut that I got at Mile Hi Ceramics. It's an interesting clay to work with but the heavy grog can be a bit sandy to work with. I find that the grog (sandy, pebbly particles that add body and strength to a clay while reducing shrinkage rate when firing) comes to the surface when using sponging or brushing with water on the surface. However, if you push on the surface using wood or metal tools or pallets, the grog is pushed deeper into the clay and the surface is smooth - or at least smoother. I found this to be an interesting combination as I burnished a few areas where the skin would be most taught, giving a tighter, more light-reflective property to the clay and leaving the more textured, groggy clay for other areas. Very tacticile

This portrait bust of Harriet Tubman was very satisfying to sculpt. I plan on doing a 3/4 figure of her soon and the bust was a way of getting familiar with her face and features before expanding into more of the figure later.

She'll need to dry for a while before firing, so that won't take place until sometime in January.

Harriet Tubman Sculpture Portrait Demo

 Sorry so slow to post....this is from a week or more ago. I let the clay firm up some more and then cut off the top of Harriet Tubman's head to continue hollowing out more. The clay is quite heavy and thinner walls fire better taking some of the excessive weight out of the finished sculpture. As I sculpt and make changes, I can add on a lot of additional clay. When I feel the portrait getting heavy I know it's time to hollow again.

By lifting the sculpture up, I can feel not only the increased weight, but where the weight is. That allows me to target an area for additional hollowing, which keeps the piece centered. Something you'll want to keep in mind when the piece is fired and ready for professional mounting..

Here I am repairing the area that was sliced off to gain access to the interior for hollowing. After putting the piece back together, I carve out a section of the join, add more slip, then some fresh clay.

Harriet Tubman Ceramic Portrait Bust Demo

 Here is an update on Harriet's progress. I let her rest over the weekend after having hollowed her out. She was a bit over-dry when I checked this morning, so I've soaked some cloth to drape over the driest parts and misted well before beginning work again.

I can see I've got to work on the symmetry a bit more, but she is making progress. I intend for the surface to retain a lot of looseness and energy, so the challenge will be to bring it to a level of completion that pleases me and stopping before I overwork her. Estimated time to date: 5 hours.