Ron Cummins: Roughneck Sculptor By Nannette Simpson Southwest Art Magazine December 1978 The fact that Ron Cummins’ first piece of sculpture was a hand, his hand, is significant. “In my opinion,” says this deep east – Texan, “the human body is the most difficult subject to capture realistically, and I thought that if I could do my hand to my satisfaction, I could do anything.”But this statement is not the reason Cummins’ selection of his own hand for his first attempts at sculpture has significance. But, this hand symbolizes his past as a crop duster, ex-Marine, oil field roughneck, and home builder. It prophesies Cummins’ future as a sculptor.“The end result of creativity is just so much manual labor,” he contends. “Working with my hands is pleasing to me, but at times, I enjoy creation in my mind much more, and of course, creativity begins in the head.”His interest in art started as a child, but he has had no formal training. When, a decade ago, he decided to pursue this interest, he didn’t start out to create sculpture. One night while his family slept, he tried his hand at painting with watercolors that belonged to his children. Then he went on to work in charcoal and eventually in pastels. These first efforts revealed a talent, but he says he couldn’t place them in galleries at the time because he couldn’t afford to frame them properly. He ended up giving most of them away or selling a few to friends who wanted to buy them.What started as a hobby soon became a compulsion for Cummins. He experimented with wood and soap carvings and then decided to use his manual dexterity in working with wax. “The minute I started to work with wax I knew what I wanted to do. There is something so exciting about its feel and the development of something from nothing.” he explains. His hand was never cast in bronze, but his second piece, a present day cowboy, was. Since that time he has cast a dozen pieces in bronze, the last of which is a dramatic departure from his cowboy and Indian figures. Cummins’ thirteenth sculpture is Woman Of The Nile, a nude he has endowed with sculptural energy and the illusion of motion, thus realizing again the creativity involved and the excitement of miraculously making dead matter come to life in his hands.His nude indicates versatility in subject matter to which few present day western sculptors can lay claim, for unlike many of them who re-create the cowboy and Indian ad infinitum, Cummins has tackled such difficult subjects as a negro boxer and an oilfield worker.He reflects a rare insight into the personalities of his figures. He depicts the boxer in defeat, evidenced by the dejected lines of the body. In this piece Cummins manages to convey the pride that has motivated the boxer’s efforts to fight long after his prime and the fright that comes with realisation that he is no long young and agile.“All men” Cummins comments philosophically, “feel strongly about not being what they were. Chair-bound executives brag about former physical prowess. We all want to be champions.” And of this writer, he queries. Wouldn’t you like to win a Pulitzer Prize?”As for his oilfield worker, whether roustabout or roughneck, Cummins portrays a man whose archetype was the plainsman and cowhand of a century ago, a hero of the oldWest. Most of his subjects are “rough and tough” because there are types that he is familiar with from the vantage point of background. Of himself, he says he doesn’t want to come across as a “cocktail artist,” for the men he likes best to portray know as did Henry Wadsworth Longfellow, that “life is real; life is earnest.” But in the next breath, he allows as how a man doesn’t of necessity have to be a brute to prove his manhood.“I grew up in a time when men were supposed to be rough and tough, and I’ve been both, but I express my sensitivity in my sculpture. Within me, at times, there has been a tug-of-war, but my work has been an outlet for conflicting emotions. I admire men and women of sensitivity and intelligence.“My sculpture reflects my interest in all aspects of life,” he says by the way of explanation for the variety of subject matter of his bronzes. Besides his latest piece, the nude, the boxer and oilfield worker. Cummins has also captured action-packed moments experienced by every rodeo contestant. These include a bronco rider’s attempts to stay on a bucking horse, a bull rider wrestling with a Brahman bull, and a bareback rider clutching a bareback rigging.At the moment he is working on a Cape Buffalo bull. From conception to completion for a bronze takes Cummins a month or more, depending on the works complexity.This includes casting the work in Cummins’ own foundry. “No artist is happy walking off and leaving someone else to cast his pieces.” contends the sculptor. “The foundry process is as much an art as the art’s creation. I learned the process from a couple of friends, Tommy Hicks of Santa Fe, New Mexico, and Metz Castleberry of Weatherford, Texas. They taught me the lost wax method of casting, and Metz continues to instruct me and bail me out when things go wrong. “Im deeply indebted to both men.”When he gets an idea for a bronze to sculpt and cast, he starts sketching, looking for pictures of his subject, taking photographs, etc. Then when he crystalizes in his own head the exact look of the piece, he starts calculating proportion and exact measurements.“I study muscles of animals and humans. I also pay attention to clothes on the body, how they wrinkle in certain positions. For human figures I scrutinise myself in the mirror and have my wife, Joan, take pictures of me. Then and only then do I build an aluminium armature on a base and create the sculpture in wax.”Although he terms his foundry “small,” he admits to spending $15,000 to 20,000 on it. Casting his own bronzes enable Cummins to see his figure through to its completion in bronze and puts the indelible mark of Cummins’ hands in a manner that is impossible for other sculptors who let an impersonal foundries complete their pieces.After he has finished a wax model, he makes a plaster cast lined with a black tuffy inner mold. He then pours molding wax into the inner mold, in and out three times to create a follow wax form. He ads vents, a pouring sprue and a cup. Now he is ready to dip the embryonic sculpture in ceramic slurry and two types of sand, repeating the process five times. The piece is left to dry overnight.Next morning Cummins fires the melt-out furnace to 1200° - 1600° Fahrenheit. After opening the ceramic shell for melt-out, the piece is put into the furnace where it remains for 45 minutes to an hour. Then he melts a bronze ingot in a crucible furnace when the molten bronze has reached 2300° Fahrenheit, the ceramic shell is buried in sand up to the pouring cup and the bronze is poured into the shell. He allows the bronze to set and harden, then cool for two to three hours.His creation in final form is revealed as Cummins chips away the ceramic shell. After cutting the vents, sprue, and cup from the bronze, he sandblasts the remaining investment.The bronze is chased as he meticulously and lovingly sands, smooth’s, burs, and if necessary sandblasts again. He adds a patina by dipping the bronze in a solution of liver of sulphur and water. To protect the patina, ordinary shoe polish in a neutral color is applied with brush and flame. Cummins then polishes the piece, places it on a walnut base and adds his name plate.“Praying that I can sell the bronze is the final step,” he says. “The market for sculpture is never as good as it is for paintings; however I believe that there are many good painters and only a few good sculptors. A lot of good painters are starving to death, and a lot of bad ones are getting rich.”Like every artist whose work finds a permanent niche in art history, Cummins style is unique. He says he has developed his style from his life’s experiences and that no other artist has influenced its development. Cummins believes his work improves in quality with each piece, and that he has not reached by any means, the limits of his ability. He has only begun. “Each succeeding work comes easier for me. One must learn ones trade by practice. There are no short-cuts!”Both workshop and foundry are in his Longview home so he can maintain a relaxed schedule. The order of his work day varies depending on whether he is working in wax or casting bronze. Cummins’ girl Friday is his wife who runs interference for him so that he can devote as much time as possible to sculpting or casting. They have two teenagers, Ron Jr., 18, and Karen, 17.His sculpting fulfills his contention that in life we should do whatever satisfies and makes up happy for “we each have such a short time here on earth, and there is so much suffering and unhappiness that we should strive to be happy”Whether his glorifying oilfield roughneck or Indian warrior, the quality of rugged individualism, like that inherent in his own personality, permeates each figure he does.Ron Cummins has achieved a winning combination of creativity in his head and execution by his hands which has resulted in some fine sculpture.
"Dog Soldier" is an exquisitely detailed bronze sculpture capturing the spirit and strength of a Cheyenne Indian warrior mounted on horseback. This masterfully crafted piece showcases the warrior's determined expression and traditional attire, embodying the rich heritage and valor of the Dog Soldiers. Perfect for collectors and admirers of Native American art, this sculpture brings history and artistry together in a timeless display of courage and culture."
$4,000 w / $2,000 Deposit
"Saddle Bronc Rider" is a detailed bronze sculpture of a saddle bronc rider, capturing the dynamic motion and spirit of rodeo.
$4,000 w/ $2,000 Deposit
"Texas Ranger" sculpture is a masterfully crafted bronze artwork that embodies the bold spirit and rich heritage of the legendary Texas Rangers. Featuring a Ranger in authentic Old West attire, this detailed piece captures the strength, resilience, and adventurous essence of cowboy culture. Ideal for collectors and enthusiasts alike, the Texas Ranger sculpture serves as a timeless tribute to the enduring legacy of the American frontier, making it a striking addition to any home or office.
$2,000 w/ $1,000 Deposit
The "Roughneck" is a finely crafted tribute to the spirit of grit and perseverance of the American Oilfield. This detailed sculpture captures the rugged determination and hardworking nature of a roughneck, making it a perfect piece for those who admire strength and resilience. Whether displayed in an office, workshop, or home, it serves as a powerful reminder of dedication and tenacity.
$2,000 w/ $1,000 Deposit
"In the Oil Patch" is a finely crafted sculpture capturing the resilience and dedication of an oilfield worker. This detailed piece features a strong figure gripping a 36"pipe wrench, embodying the spirit of hard work and industrial pride. Perfect for collectors and enthusiasts alike, it serves as a powerful tribute to the backbone of the oil industry.
$2,000 w/ $1,000 Deposit
"Many Moons" is a captivating sculpture that beautifully embodies the mystique and wisdom of the medicine man. Meticulously crafted with intricate details, this artwork invites you to explore the timeless connection between nature, spirituality, and healing. Perfect for collectors and admirers of cultural artistry, "Many Moons" adds a touch of enchantment and depth to any space.
$1,000 w/ $500 Deposit
