TOOTHPASTE

Today was the first day I got to finally get my hands on a piece of marble.  After deciding more on a concept than definite form, with Keara’s advice, I chose a stone (see below). Simone (one of the artigiano) took me through the basics of using the different tools he was reassured I knew how to use the grinders safely.

The air hammer seemed like a joke! I couldn't believe it when I held it, I could hardly put the chisel into the hammer, they were both vibrating so fast it felt like those bicycles you ride at funfairs that go the opposite way to normal. The vibrations were massive and I thought maybe I'd made a big mistake thinking I could do this.

However with some guidance and patience and much flying marble (and a small bit of blood) I got a bit more control of it.

The vibrations and elongated use will definitely take some getting used to. The resistance from the marble is so much more than softer stones. I'll have to be very aware of my body so as not to damage or push myself too far.

It's really exciting to begin to see a shape emerging from the stone. I really want to try and make something interesting, unusual and related to the stone, its natural form and the way it is treated or handled by humans. I hope to master the tools some more so that I can achieve a dramatic but sensitive effect.

The first day I manage to use the air hammer and finally feel I have some control over it, its impact on the stone is amazing. The marble is an incredible material that demands time, respect and can be so many things depending on how you treat it. The natural surface shows passing of time, marks of different weather and erosion, if you work the surface a lot it begins to be like powder or butter, softening as broken . Like a special occasion you can also dress the stone up to be incredibly precious looking, reflective and showing off all its best qualities. 

So to create a sensitive surface or shape in the stone is something that requires real sensitivity and engagement. This is a challenge and testimony to what a human touch thinks you can bring to an already beautiful natural material. I don't want to impose a form on something unless it speaks and reflects on the material itself. It seems futile to me to create another static, complete object unless it really achieves a provocation and continues or encourages a dialogue involving the material.

On my second weekend here I visit, Fantiscritti a quarry accessible to the public, although very touristy ( "I love Marmo" merchandise everywhere) it's an amazingly moody, stormy day, great to drive up to the mountains and get some perspective on the area and see the beautiful and brutal scene of the quarried stone. They are literally cutting up the mountain. It strikes me again the complete contrast in the way humans can approach the environment; divide, quantify and ultimately decimate, the wild humbling, enormous beauty of the mountains.

I speak to Keara the director of the studio, about my impression of the horrendous beauty of the quarries. She explains (to my horror) that in order to obtain the large blocks of a viable quality, 70% of the quarried stone ends up as debris or tailings. This stone debris is pounded into powder. White marble is composed predominately of calcium carbonate in a relatively pure state.

Because it is almost completely inert, calcium carbonate is used as a densifier in plastics, added to pasta and bread and used in almost all abrasive solutions from bathroom cleaners to toothpaste. The recycling of the debris to obtain calcium carbonate is a larger industry than the quarrying of the marble blocks, but then most of the mountain is riddled with defects, so that rendering a large sound block for architectural work or sculpture inevitably produces a large amount of waste.

           

The artigiano are always on hand to answer questions or give advice about the best way to approach the next way I want to work with the stone.

The atmosphere in the studio is amazing and so conducive to making, personal space, tools and interacting all respected and understood. It feels like such a natural and supportive environment to experiment and make work in. I really appreciate people moving at their own pace, stopping, thinking, chatting, bashing or doing detailed work as and when it's right for them to. There is such an understanding and respect for art and sculpture here, it is the first time I have daily felt free, open and encouraged to make and explore the process. It's understood here that this is a living.

It's inspiring to hear the stories of so many other artists working here and how they strike the balance between income, space, personal life and times of solitude. I can learn a lot from the older artists about marketing and representing yourself and your work. I describe to many how it's my weakness and how I would a million times over prefer to just keep making than stop, document, represent and communicate. But it's definitely a necessary part and something I should give more time to.

Pietrasanta and the surrounding area continues to blow my mind, mountains, sea, art on every corner, the incredible Italian passionate openess and directness, hospitality and pride in simple quality, evident in the food and experience here.

This is the end of my third week in the studio, it's been an incredibly steep learning curve, both with getting used to the ten hour day of manual work, getting to know all the new people and keeping engaged in my own journey with the stone and what I am making.