Sand Sculpture Catalog: 00P-10

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Holiday Series: #2
It's time to try an experiment. With the brand-new wireless mic in the kit, I trundle down the hill to the beach. Setting up the camcorder with the wireless takes a few minutes, but it seems to be working well. I start digging and piling, talking about what I'm doing. In the process I pretty much forget that I'm supposed to be doing a sculpture, and the pile ends up being a graceless column on top of a low, three-armed base. Now what do I do?

Build number: 00P-10

Date: November 22

Location: Venice Breakwater, south side littoral

Start: 1030; building time 5 hours

Height: 4 feet

Base: 4 X 8 feet (three-armed star, sort of)

Photography: None

Videography: Narrated process, walkaround, stills w/XL1 (some by George)

1. Putting the "Free" in Piling

The central tower juts from its starfish base too abruptly. Well, just fix it by filling in the shoulders. I wet the area thoroughly, then hand-form more sand where it's needed. It won't stick all that well but if I remember to carve carefully here the new sand will stay and fill in that graceless transition.

Other areas get similar treatment. Now the tower looks more as if it belongs to the rest of the sculpture.

2. Your Camera is Ready, Mr. DeMille

"Quiet on the set!"
I look at George. He's taking this far too seriously, eye glued to the viewfinder. The helicopters show his demand no respect.
"Can we lose the shovel? And get those buckets out of my shot!"
The latter is a valid point; the white buckets call far too much attention to themselves. I keep trying to find grey or black ones, but they just don't exist anyplace I've looked.

He's doing something I can't. Free-piling is very messy and I don't want to even get close to the camera. So, as have generations of movie stars, I put up with the Director's demands. I'll get to razz him when we watch the rushes.

3. Remember the Main Task

We have this big pile of sand waiting. It's the biggest free-pile I've ever made.

The tower is as close to a cylinder as I've ever made this way, which is a surprise. It suggests nothing in the way of design so, with George concentrating on the camera, I just get started.

Most free-pile towers are narrower than this. The width looks clunky in outline but provides lots of room for carving details so I start cutting small windows separated by sweeping thin webbing of sand. Further ventilation from other sides produces complexity and interesting lines.

4. The Betting Men

"Which do you think will happen first, Rich? We run out daylight, or the waves get it?"
"I think the water will be here."
"What do you want to bet?"
"I never bet any more than a nickel." "Oh, come on. It's not a bet unless dollars are involved." George is a schoolteacher, and tries to supplement his income any way he can.
"A nickel. I'm not a betting man. I never win. Well, I did win fifteen cents one time, but that was a fluke."
"All right, a nickel it is."

The tide has turned but is still a long way down there. I'm not used to having this much time, and this is expressed as additional detail around the sculpture's base.

5. Learning a Trick from Gerry

Cut and fill is a basic engineering principle: make them balance as you build a road and you save money. In sand sculpture it saves energy. Dig part of the sculpture into the beach, then use the waste sand to build up the tall parts. Gerry Lynas is the greatest practitioner of this I know of. I've preferred putting scuptures on raised bases so they command their surroundings, standing lordly above the beach. Made of sand, yes, but in a different world.

The spreading characteristic of free-piled sand invites more experimentation. I smooth the ends into the beach, then use waste sand to build up curving berms. Below various openings I dig deeply and shape the space to continue the sculpture's curves. Right up until the sea is at my toes I keep polishing.

6. Battery, Sun and Sea All Call Time

"It's saying 'CHANGE THE BATTERY PACK', Larry."
"We don't have another, except the one Rich has in his pocket so it will warm up." I brought two three-hour batteries and four one-hour tapes, thinking that would be enough for this project and two more. "Give George batteries and tape and he'll just keep shooting."
"Well, it's here to be used, right?"
I can't fault that one. After all, I do sand the same way: keep working until there's no more daylight.

"That one didn't last long. You'd better shoot your walkaround."
He's right. I walk around the sculpture, hoping for enough power to get all the way around. It lasts, so I shoot some stills for the Web site. Ten seconds after I shoot the last one the camera shuts down.
"That's it."

7. Rough Spots

With video out of the way for good, I can consider the sculpture in more detail. Here's one I forgot: an invitation for a hole. I dig through under the eastern arm into a hollow at the tower's foot. Yes, that helps.

Other areas need more work. I work around, polishing here and there, finishing various parts that were rushed. It has already set a new record for time spent on a free-pile sculpture, five hours and still counting.

8. One in the Borrow Pit

"Slow down! Slow down!" George is worried about his nickel. I'm more worried about my equipment, so i move all of it well above any place the tide will hit in the next hour or two. It was a little wave, just barely easing into the loose sand that fills the borrow pit, but still an announcement of intent.

9. Flow-through Transcendence

The next wave is more vigorous. It covers the sand-filled borrow pit, washes gently around the sculpture's ends, enters the portals and fills the depressions around the sculpture's roots.

"I really wish we had some battery power right now."

It is transcendent. Near-sunset light glows in the still water, sky and sculpture and beach merged. Never have I made anything this beautiful. The moment holds briefly, until the flanking arches fail.

10. Winding Down

The bet is still on, a race between sunlight and water. Each wave hits a little higher, as the sun descends. The tower is still standing as the last spark goes behind the ocean and Rich hands George his nickel.

This sculpture is much stronger than its predecessor. Repeated hits reduce the flanking parts but the tower stands. Cooling damp air surrounds us in the dimming day. Finally the tower falls, its various supports all undermined and settling.

"Good night, Rich. I'll be here tomorrow."
"We're not sure of our plans yet. Lorna and I might come."
George and I walk north under the darkening sky as streetlights come on.

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All contents copyright by Larry Nelson
lord_chaos@compuserve.com

00p10rpt.htm 2001 January 12
Report written 2000 November 22,23

	Build number:	00P-10
	Date:	November 22
	Location:	Venice Breakwater, south side littoral
	Start:	1030; building time 5 hours
	Height:	4 feet
	Base:	4 X 8 feet (three-armed star, sort of)
	Photography:	None
	Videography:	Narrated process, walkaround, stills w/XL1 (some by George)

	1. Putting the "Free" in Piling The central tower juts from its starfish base too abruptly. Well, just fix it by filling in the shoulders. I wet the area thoroughly, then hand-form more sand where it's needed. It won't stick all that well but if I remember to carve carefully here the new sand will stay and fill in that graceless transition. Other areas get similar treatment. Now the tower looks more as if it belongs to the rest of the sculpture. 2. Your Camera is Ready, Mr. DeMille "Quiet on the set!" I look at George. He's taking this far too seriously, eye glued to the viewfinder. The helicopters show his demand no respect. "Can we lose the shovel? And get those buckets out of my shot!" The latter is a valid point; the white buckets call far too much attention to themselves. I keep trying to find grey or black ones, but they just don't exist anyplace I've looked. He's doing something I can't. Free-piling is very messy and I don't want to even get close to the camera. So, as have generations of movie stars, I put up with the Director's demands. I'll get to razz him when we watch the rushes.
	3. Remember the Main Task We have this big pile of sand waiting. It's the biggest free-pile I've ever made. The tower is as close to a cylinder as I've ever made this way, which is a surprise. It suggests nothing in the way of design so, with George concentrating on the camera, I just get started. Most free-pile towers are narrower than this. The width looks clunky in outline but provides lots of room for carving details so I start cutting small windows separated by sweeping thin webbing of sand. Further ventilation from other sides produces complexity and interesting lines. 4. The Betting Men "Which do you think will happen first, Rich? We run out daylight, or the waves get it?" "I think the water will be here." "What do you want to bet?" "I never bet any more than a nickel." "Oh, come on. It's not a bet unless dollars are involved." George is a schoolteacher, and tries to supplement his income any way he can. "A nickel. I'm not a betting man. I never win. Well, I did win fifteen cents one time, but that was a fluke." "All right, a nickel it is."
	The tide has turned but is still a long way down there. I'm not used to having this much time, and this is expressed as additional detail around the sculpture's base. 5. Learning a Trick from Gerry Cut and fill is a basic engineering principle: make them balance as you build a road and you save money. In sand sculpture it saves energy. Dig part of the sculpture into the beach, then use the waste sand to build up the tall parts. Gerry Lynas is the greatest practitioner of this I know of. I've preferred putting scuptures on raised bases so they command their surroundings, standing lordly above the beach. Made of sand, yes, but in a different world. The spreading characteristic of free-piled sand invites more experimentation. I smooth the ends into the beach, then use waste sand to build up curving berms. Below various openings I dig deeply and shape the space to continue the sculpture's curves. Right up until the sea is at my toes I keep polishing. 6. Battery, Sun and Sea All Call Time "It's saying 'CHANGE THE BATTERY PACK', Larry." "We don't have another, except the one Rich has in his pocket so it will warm up." I brought two three-hour batteries and four one-hour tapes, thinking that would be enough for this project and two more. "Give George batteries and tape and he'll just keep shooting." "Well, it's here to be used, right?" I can't fault that one. After all, I do sand the same way: keep working until there's no more daylight.
	"That one didn't last long. You'd better shoot your walkaround." He's right. I walk around the sculpture, hoping for enough power to get all the way around. It lasts, so I shoot some stills for the Web site. Ten seconds after I shoot the last one the camera shuts down. "That's it." 7. Rough Spots With video out of the way for good, I can consider the sculpture in more detail. Here's one I forgot: an invitation for a hole. I dig through under the eastern arm into a hollow at the tower's foot. Yes, that helps. Other areas need more work. I work around, polishing here and there, finishing various parts that were rushed. It has already set a new record for time spent on a free-pile sculpture, five hours and still counting.
	8. One in the Borrow Pit "Slow down! Slow down!" George is worried about his nickel. I'm more worried about my equipment, so i move all of it well above any place the tide will hit in the next hour or two. It was a little wave, just barely easing into the loose sand that fills the borrow pit, but still an announcement of intent. 9. Flow-through Transcendence The next wave is more vigorous. It covers the sand-filled borrow pit, washes gently around the sculpture's ends, enters the portals and fills the depressions around the sculpture's roots. "I really wish we had some battery power right now." It is transcendent. Near-sunset light glows in the still water, sky and sculpture and beach merged. Never have I made anything this beautiful. The moment holds briefly, until the flanking arches fail.
	10. Winding Down The bet is still on, a race between sunlight and water. Each wave hits a little higher, as the sun descends. The tower is still standing as the last spark goes behind the ocean and Rich hands George his nickel. This sculpture is much stronger than its predecessor. Repeated hits reduce the flanking parts but the tower stands. Cooling damp air surrounds us in the dimming day. Finally the tower falls, its various supports all undermined and settling. "Good night, Rich. I'll be here tomorrow." "We're not sure of our plans yet. Lorna and I might come." George and I walk north under the darkening sky as streetlights come on.