After digging all the investment from inside the male figure, and realizing that the female figure would keep her solid core of investment- it was back to the pressure wash to clean the sulphur smelling black charr from inside the figure. Next I welded the arms, or what remained of them, and the one surviving window for the female fig’s calf. The day finished out with more than two hours of sandblasting, removing all the hydrocal-plaster tucked into every flashline, as well as the dark metal scale/carbon.
At this point we can really see what nice things occured in the casting. The male figure underwent a much harsher experience, attested by his surfacing and complete losses. The female figure poured nearly perfectly, with great crazing patterns augmented by the new idea of dribbled wax I added over the hydrocal layer.
Maybe I should let go of the idea of being able to dig out the core investment. This is how it is done for normal casting, but I should see how much more I can minimize that and still have the casting come out. For example, if I had removed her arms, the back of her head, and put more windows in her, then the flashing would not be cohesive and organic.
The goal of this process is a cohesive effect from the potential destructive/creative process inherent to casting, and pushing the destructive powers of molten metal and mold failure into a creative potential. The finely sculpted figure and the entire casting process are integral to allowing complete loss, or if all goes well, something unique that encompasses creation & destruction in one expression.