Updated on
02.23.07

Welcome!

Laf'n Bear Sculpture Studio LLC is about partnership at it's core; the sculpture of
Lynn A. Fraley (LAF) and the mold making and production expertise of
Barry W. Moore (aka "Bear").

The husband and wife team have been

together since they met in Sculpture 101 at Arizona State, way back in 1984. At ASU Lynn earned a BS in Marketing and Barry came away with a BFA in Graphic Design. Both subsequently put those degrees to good use for many years in both the corporate and non-profit sectors. In 1992, Lynn formed her sculpture studio as a business; first as a part-time venture, then she became a full-time entrepreneur in 1995. In 2006, Barry also made the switch to full-time work at Laf'n Bear at its mold maker and production manager.
The studio space itself is small, but it's amazing how much work of different sorts can get done in a space only 448 square feet big!

One corner is dedicated to ceramic production.

Another corner is dedicated to the rotational casting of resins.

Another section is reserved for working on original sculptures.
The studio is just big enough to host the ocassional workshop.

Here, Sarah Minkiewicz-Bruenig, Simrat Khalsa and Hilary Hurly work on hind leg anatomical studies during a workshop held in August, 2002.


A Bibliography of
References

Sculpting Tool
Recommendations

A Demonstration of
Sculpting Technique


Food for Thought; a quote from sculptor Herbert Haseltine:

"A sportsman friend of mine who often came to my studio has suggested that I should choose 'complete repose' (as a title) for the Thoroughbred (bronze sculpture), thus giving full value to all the fine points in this attempt to create the ideal Thoroughbred, and avoiding the disturbed, flamboyant contortions so often seen in equestrian statues -- 'tourmenté' (tormented) as the French so aptly describe with their highly developed sense of wit. Horses pawing at the ground wit an action as high as a hackney's, mane and tail flying in turbulent disorder, the rider standing in stirrups and pulling at the horse's mouth, probably waving a sword and with mouth wide open, in order to convey the idea that he is shouting a command.

"It is just as possible to put as much, or even more, motion or vitality into a horse standing perfectly tranquil, as in one in violent motion; in the long run you get weary of the latter and would give anything to see that arm lowered and mouth shut..."

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Laf'n Bear LLC is owned and operated by Lynn A. Fraley and Barry W. Moore
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©2007 Lynn A. Fraley, Laf'n Bear LLC, all rights reserved