In 1998 Calderon began to explore the medium of cast cement, as seen in the works illustrated below. All of these forms are made of cast gypsum-based cements mixed with acrylics. These have been cast in the artist’s own studio and then patinated. In this unique process, the artist creates an original object from Styrofoam and wax and forms a rubber mold from the shape. He then produces a "slush-mold" cast employing acrylic-modified cement to which metal powders have been added. The first mold is strengthened with a fiberglass matrix on one side, and the second mold coats the outside with the final layer. This layer is eventually patinated with various chemicals to create a timeworn, subtle finish. The coloration derives from being submerged in various chemical compounds and then exposed to heat prior to application of other chemicals.
They are heavy, solid-looking yet hollow and lightweight enough to hang on a metal bracket on a standard wall.
Cast Cement
click on an image to enlarge:
CODA (Large bell), 2003
Cast modified cement 23 x 25.5 x 25.5 inches Ed/5
$5,000.
Details of CODA below:
REGALIS (black), 2001
Cast modified cement, 19.5 x 6 x 4 inches
Multiple of 7, each varies in patina finish
$5,000.
Details of REGALIS (black) below:
REGALIS (red), 2001
Cast modified cement, 19.5 x 6 x 4 inches
Multiple of 7, each varies in patina finish
$5,000.
Details of REGALIS (red) below:
MANTA, 2003
Cast modified cement, 18 x 7 x 3 inches, Ed/10
$2,500.
Details of MANTA below:
GLORIA, 2003 (details of the installation at right)
Cast modified cement
Suite of 36 pieces, 5 x 2.5 inches each, Ed/5
$8,000.
Details of the installation:
MADRINA (cement), 2001
Cast modified cement, 57 x 20 x 20 inches, Mulitiple of 3 $15,000.
Details below:
ADOMA, 2003
Modified cement
15 x 13.5 x 13 inches
$3,500
SPUR, 2004
Lead over cast modified cement, 59 x 22 x 15 inches
$9,000.
SIRENA, 2004
Lead over modified cement, 36 x 11.5 inches Ed/10
$3,200.
Detail below:
MANA, 1999
Cast modified cement
20 x 12 x 12 inches
Multiple of 5, each varies in patina finish
$3,400.
Many of Calderon's cast cement sculptures reference the somewhat larger-than-life scale of heads from antique statuary of gods and heroes. His previous intimately-scaled work has gained a more heroic reference in this work.
SPINOS (spikes), 1999
Cast modified cement, 12 x 11 x 10.5 inches
Multiple of 10, each varies in patina finish $3,400.
SPINOS is and abstracted form from a melongena shell from the South Pacific, bears a striking resemblance to previous images relating to a sacred heart with a crown of thorns. The piece has been treated with various copper sulfate solutions and then buffed to bring out a reddish tone over the graphite-colored base.
STUPA, 1999 (profile view at right)
Cast modified cement, 18 x 12 x 12 inches
Multiple of 10, each varies in patina finish
$3,200.
GEMMA (brocade-green), 1999 (detail at right)
Modified cast cement with patina
7.5 x 4.5 x 4.5 Trial Proof/3, unique patination
$2,500.
VOLUMINA, 2000 (two views illustrated)
Unique cast modified cement with gilding
30 x 19 x 19 inches
$5,500.
Kiln-Cast Glass
click on an image to enlarge:
AVIA, 1995 (detail at right)
Kiln-cast glass, 8 x 4.5 x 3 inches, Multiple of 6
$1,800.
VERUCCA, 1995 (detail at right)
Unique kiln-cast glass, 6.5 x 6 x 6 inches
$2,400.
DOLOROSA, 1996
Unique kiln-cast glass, 19 x 6 x 6 inches
$5,500.
In 1995 and 1996, Calderon was awarded artist-in-residencies at the Pilchuck School in Stanwood, WA and the Bulls eye Glass Factory in Portland, OR. In his cast glass pieces, the artist attempts to use the material to its greatest advantage without succumbing to the seductive qualities inherent in the medium. Calderon’s wall-mounted and free standing glass works most often take the form of cloudy, translucent jewels through which light enters and refracts, but finds no exit from. In contrast to most delicate, blown glasswork, his pieces achieve a certain solidity and mass in form and through the casting process, attain delicate textures which are both visually and tactilely stimulating.
COYUNTURA, 1993
Synthetic hair and mixed media, 34 x 14 x 9 inches
$7,500.
Organic Materials
click on an image to enlarge:
STEMMA (tea leaves), 1990
Tea, blood, cement, steel, 25 x 13 x 1.5 inches, Ed/5
$6,000.
LEAFLET (burlap), 1989
Mixed media, 54 x 22 x 1.5 inches, Multiple of 6
$4,000.
MILAGRO, 1989
Mixed media, 15.5 x 8.5 inches, Ed/5
$2,500.
YAM, 1986
Mixed media, 59 x 24 x 16 inches
$10,000.
PLAGUE (warthog skin balls), 1990
Mixed media 62 x 28 x 8 inches
$8,000.
"I was born of a Mexican father and an American mother of Norwegian-Irish descent, and was raised without much specific religious or ethnic influence. Later, during my college studies, I was exposed to many artists and cultures with which I was previously unfamiliar. Only recently have I recognized the influence of the Chicano aesthetic in my work. The rich and varied textures of the materials used in the construction of my work call to mind the important function crafts play in the daily life of the Mexican people. Commonplace materials such as plaster, wood, muslin, steel, tarpaper and cheesecloth are used as integral rather than incidental components of the work and provide a warmth and approachability, which might not be there if I used other media. These materials, often in an old and weathered condition, are an integral part of my work and through the use of these raw and varied textures, I hope to give the pieces an appearance and quality which resists placement in time and position within any specific culture.
The discovery of Victorian mourning jewelry has also made a lasting impression on my work and me. I was fascinated to learn that 100 years ago it was customary to use the hair of a loved one to weave intricate jewelry and decorations as a keepsake or as a memorial. The degree of intimacy that is achieved by using the physical reminders of a loved one is profound. This reinforced my belief that the material and process used can contribute a great deal of meaning to the work.
Much of my work has been quite abstract but recently, I have begun to make direct reference to the rich history Christian images: the cross, the heart, and the torso. These images, so significant in Chicano culture, are for me a representation of individual spirituality rather than the dogmas of any particular religion. For me, spiritual belief and practice is very personal. Nonetheless, the influence was there.
Because of this, my understanding of the creative act has also changed. Originally, I felt my art was affected only by outside influences, quite separate from my life and personal history. As my work and my artistic personality have developed, I began to realize how inseparable they are from my personal heritage."
