Nina Winters

Nina Winters was born in New York City and schooled at the College of Fine Arts and Architecture at Cornell University, the School of Visual Arts and Parsons School of Design. She later moved to the woods of New Hampshire to immerse herself in nature.

She began her career as an artist in the field of paint and color. She made the cross to three-dimensional art after having a vision of monumental sculptures enduring through time as positive communications to society.

Today she makes this vision a reality. She is currently working on two monumental sculptures, and is finalizing plans to make monumental sculptures for Children's Peace Parks.

Her work in bronze brings forward her sophisticated knowledge of the use of color that she developed in her painting years. She uses patinas in bright and subtle ways to convey the stories she tells of the human potential.

Working from her studios on the waterfront of Clearwater, Florida and in the backwoods of New Ipswich, New Hampshire, she creates sculptures that are unique solutions for corporate, home and hotel architecture as well as monumental works for urban and country environments.

Her clients include corporate officials from Paine Webber, the Wall Street Group, and Hiram Walker.

Her work is in major collections in the United States, Canada, England and Australia including the private collections of celebrities such as Chick Corea (Grammy Award winning jazz musician), Howard McCrary (Grammy Nominee music producer), and David Campbell (Grammy Award and Oscar winning arranger).

Her bronze work is featured in the Paramount film "Kiss the Girls" starring Morgan Freeman and Ashley Judd.

Gallery shows include The American Institute of Graphic Artists (NYC), The Art Directors' Show (NYC), St. Petersburg Center for the Arts (FL), Stephen Christopher Gallery (Rancho Mirage, CA), Rick Moore Fine Arts Gallery (Naples, FL), The Pen & Brush (NYC), and the Aaron Faber Gallery (NYC).

Now an award winning sculptor, she has proven her place in the world of art and shown that every piece can speak truth to millions.

Nina Winters, the international award winning bronze sculptor, has a reverence for art as a communication tool.

She feels that art, at its best, speaks from the deepest part of us with a language that has no words.

Her bronzes, both small and monumental, are known for their strong abstract lines and powerful statements about human nature.

"My sculptures mirror my belief that we are capable of far more than we are led to believe. I want my art to inspire you to dream, to reach, to fly."

Award from the Temescal Canyon Art Show, Pacific Palisades, California
Award from theThe Pen & Brush, Inc., New York, N.Y.
Award from the Art Directors' Show, New York, N.Y.

to name a few.

FEATURES:
Art News
Palisadian-Post
Tampa Bay Magazine
Hr. Magazine
Traditional Building
Blu Magazine

FILMS:
Sculptures featured in Paramount Pictures, Kiss the Girls,
starring Morgan Freeman and Ashley Judd

GALLERY SHOWS:
Tasca Gallery, Madison Avenue, New York, N.Y.
Folkways Gallery, Peterborough, New Hampshire
American Institute of Graphic Artists Show, New York, N.Y.
Art Directors' Show, New York, N.Y. - (award)
Watterson Alley Gallery, Clearwater, Florida
St. Petersburg Center for the Arts, St. Petersburg, Florida
Stephen de Christopher Gallery, Rancho Mirage, California
Rick Moore Fine Arts Gallery, Naples, Florida
The Pen & Brush, Inc., New York, N.Y.- (Tallix Foundry Award)
Aaron Faber Gallery, New York, N.Y.
Elaine Fleck Gallery, Tonronto, Canada

CURRENT GALLERIES:
Dolphin Galleries, Maui, Hawaii
A Gallery, London, England

EXHIBITS:
Affaire in the Gardens Art Show Beverly Hills, California
Hilton Hotel, Universal City, California
Jeffrey Stevens, Pacific Design Center, Los Angeles, California
Western Digital Building, Irvine, California
Temescal Canyon Art Show, Pacific Palisades, California (award)
Tampa Bay ACC show, Tampa, Florida
Sun Fest, West Palm Beach, Florida
DeZign Services, Pacific Design Center, Los Angeles, California
D.V.Preiser Interior Designs, Tampa, Florida
New York Art Expo, New York, N.Y.

COLLECTIONS:
In private collections of corporate officials of:
Paine Webber, Hiram Walker, The Wall Street Group
Aaron Fodiman Collection
Cherniak Collection, Toronto, Canada
Bargate House Collection, Surrey, England
Richard Ray Collection, Hilton Head, South Carolina
Saldarriaga/Echavarria Family Collection

In private collections of celebrities:
Chick Corea, grammy award winning jazz pianist
Howard McCrary, grammy nominee singer/pianist
David Campbell, grammy and oscar award winning arranger

In international collections:
USA, Canada, England, Colombia, South America and Australia

The Process
Step 1: Artwork
I create the sculpture using clay, foam or a metal armature with an overlay of plaster.
For smaller pieces, it goes directly to Step 2. For monumental sculptures, the next step is pointing up which is a process that takes the small sculpture (the maquette) and enlarges it to any size.
Step 2: Molds
My staff artisans and I will study the sculpture and make a determination on how the sculpture will be sectioned or "laid up" for mold making. Complex molds will require the original artwork to be cut into smaller manageable pieces. This is, by far, the most critical step of the procedure. The detail of the original must be captured and transferred in the mold, if not, they will be difficult to replace in any other step.
The sculpture is first sealed and then a release agent is applied to allow for easy removal of the rubber mold. Depending on the artist's requirements, we will create a silicone, latex, or polyurethane mold. After the original sculpture has been prepared, the Master Mold Maker will apply the first coat of rubber. Once the rubber has set, additional coats must be applied and "keys" will be placed in the rubber to ensure proper positioning of the mold. When the rubber is thoroughly set, a back-up shell or "Mother Mold" is applied to support the rubber for the wax pouring process. Previously, plaster was used for this process. Today, the most widely used material is fiberglass due to it's strength, durability, and, weighs much less than plaster. A release agent is applied on one half of the rubber mold then the fiberglass is laid down on the rubber, followed by the resin and allowed to dry. Depending on the size of the mold and the strength needed, several coats may need to be applied. Then the mold and mother mold are flipped over and the process is repeated on the other half. The back-up shell is removed and the rubber gently pulled back so the original sculpture can be removed. The rubber is then cleaned of any remaining particles from the original. It is now ready to receive the wax.
Step 3: Wax Casting
The completed mold, having already been prepped, is now ready for the wax. The mold is separated and the first coat of wax is painted into the mold to capture all the fine details of the artist's masterwork. The mold is put together and more wax is poured in. It is then rotated until an even, thin coating is achieved. Once it has cooled, a second coat is applied and rotated to achieve a thickness of 3/16 to 1/4 of an inch. The excess wax is poured out. After the wax has completely cooled, the "mother mold" followed by the rubber mold is removed. Now the wax casting is revealed.
Step 4: Wax Chasing
Seam lines are removed and the wax pieces are fitted for alignment. Then the register marks are put in, followed by the final wax inspection.
Step 5: Spruing & Gating
Wax rods are attached to the sculpture. These rods are called sprus or gates. A large cup is attached at one end, this cup will receive the molten bronze when poured. The placement of the gate system allows molten bronze to flow through these areas allowing gases to escape through smaller bars called vents.
Step 6: Ceramic Shell
We are now making a secondary mold. Though the materials are much more modern, this serves the same function as mud did 5,000 years ago. We now dip the wax in a liquid binder solution. This material is called "slurry" and a very fine silica sand is applied. Each coating is completely dried prior to the next. The number of coats applied to a piece is determined by the size and weight of the piece. The heavier the piece the thicker the shell must be to support the metal. The slurry coats the inside and outside of the wax allowing the sculpture to be hollow. The chemical make-up of the slurry is monitored constantly to ensure it's strength. The humidity and temperature of the slurry room is controlled to allow for optimum dryness and hardness of the shells.
Step 7: Metal Casting
The ceramic shell is removed from the slurry room and placed in an autoclave or a burn-out oven cup side down. A burn-out oven is simply a large flame-heated oven, an autoclave is a large machine that heats up under steam pressure. Either method will allow the shells to de-wax. Once the shells are de-waxed, they are cooled and inspected for cracking. Once again they are heated up to 1400 degrees and placed in the pouring pit. Bronze ingots are heated from 1900 to 2100 degrees. The temperature that bronze is poured is determined by each individual casting. The molten bronze is then poured into the hollow shells and allowed to cool and solidify.
Step 8: Devesting
The shell material is now removed inside and out, and the unfinished bronze casting is revealed. It is then glass beaded, water or sand blasted to remove any remaining shell material from the intricate details of the casting.
Step 9: Welding
If the original sculture was sectioned into multiple pieces, it would now be carefully fitted and reassembled. A visual inspection is done to check for any casting inclusions. If there are any surface defects, these would also be repaired at this time. All sections of the casting are welded together with great care and attention to alignment.
Step 10: Metal Chasing
The sculpture is chased to remove any sign of welding or casting defect and to prepare the bronze for the patina (coloring process).
Step 11: Glass Beading
I use a wide variety of polishing and detail tools are used without disturbing the original texture of the sculpture. A final metal inspection is performed at this stage of the process.
Step 12: Patination
The patina is the finished color. I use a variety of different chemicals which react to the metal to achieve the exact look that I desire.. After the patina is applied, I work with dyes and coloured waxes, to achieve the exact unique look that I desire. Depending on whether the artwork is inside or outside, the sculpture is then sealed with a wax coat and/or lacquer to protect the finish.
Step 13: Crating & Shipping
The sculpture is carefully and securely packaged (in a wooden crate for heavier pieces) for safe shipping.
Step 14: Delivery
Safe delivery of the final product completes the process.

Nina Winters just received confirmation on her commission to build a 6 ft x 8 ft bronze sculpture, "The Galactic Samurai" for a collector in Texas. This sculpture will be the focal point of their landscaping, and will be at the center of their outdoor social gatherings. Visit Nina's Blog to hear more about the progress of this piece: