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Glendon Morris

Born 26 August 1946

Glendon is the second of three sons of the legendary Ken Morris.
He attended Barataria E.G. School and Osmond High School in San Juan. During the holiday periods in elementary school, as early as ten years old, he assisted his father, Ken Morris, with carnival costumes, and began learning the art of copper sculpture (copper repoussé).
At the age of twenty, Glendon and his father were chosen, together with Wayne Berkeley and Carlisle Chang, to represent Trinidad and Tobago in the Sphere of Art at the Canadian Exposition in Montreal, Canada (1967).
In 1968 Glendon migrated to Canada, where he trained in a highly skilled area of tool and die sinking, Sculpture of Metal Moulds for Reproduction, at Compo Industries of Canada.
On his return to Trinidad and Tobago in 1983, he managed the tool and die department of Y. De Lima and Co. Ltd. for fifteen (15) years. His last major work was the Trinidad and Tobago Police belt buckle.

Glendon is certified by the Metal Industries Company (M.I.C.) in physical metallurgy heat treatment of metals, and design for components of machines and equipment.

He was also the first band leader of the Belmont Original Stylish Sailors (De B.O.S.S.). His designs have achieved the band of the year title in the small band category for many years. At present he is the band leader of the Belmont Jewels.

His designs include metal work and his craft is well appreciated in Carnival for over the last three years. He is also a member of the National Carnival Bands Association.

 



Glendon Morris

In 2006 he was chosen to visit Nigeria to observe and make recommendations for their newly developing Carnival. He returned to Calabar, Nigeria in 2008, together with three other members of the Mas’ fraternity, and conducted a workshop in the use of materials, designs, and construction of small, medium and large costumes.
Carnival judges of Mas’ have enhanced their skills by his lectures in past years.
Glendon works at his studio located at 107B Belmont Circular Road, Belmont. His art in copper sculpture is very much in demand. His copper murals can be found throughout Trinidad, and are displayed at the University of the West Indies, Piarco Airport, Kapok Hotel, Phoenix Park Gas Company, Angostura, and private collections. He is also a prominent designer/artist to the Eric Williams Memorial Foundation and currently the only major copper repoussé artist in Trinidad and Tobago. He works on commissions only.

 

 


Almost finished 1.10.19

Trinidad and Tobago's foremost Copper Artist Glendon Morris has graciously offered to produce and donate a copper repoussé art work he especially designed  and made for the Miss Wold 2019 Silent Auction which will be held in London at the end of this year for the benefit of needy children around the world.

Title of the Art Work: The Spirit of Trinidad”
Size: 22 x 13” without frame
Material: copper repoussé

Description: On the right is a male traditional Sailor Mas’ Carnival band player and on his left is a contemporary (modern costume) female Mas’ player. The word Mas’ is the shortened version of the word Masquerade.
In the background of the design is a stylised steel pan. The steel pan, or popularly just called “pan”, is the only new musical instrument of the 20th century. It emerged on the island of Trinidad as part of the music culture in the early 1930s. While there are many local innovators who are credited with developing the steel pan, there are no individuals who are documented for creating it. The steel pan was developed in response to the banning of various Trinidadian musical instruments, such as the traditional stick-and-drums and the tamboo-bamboo, by the British colonial government.  

Story line: The Sailor Mas’ player wandered away from his band to look at other bands and when he reached a Contemporary Mas’ Band he spotted a beautiful, spirited, female Mas’ player to which he was immediately very attracted. He invaded her band and started jumping up (dancing) with her. It was love on first sight and he forgot to return to his own Sailor Mas’ band.

N.B. Repoussé or repoussage refers to a metalworking technique in which a malleable metal is shaped by hammering from the reverse side to create a design in low relief. The following photos show the stages  of the creation of Glendon's special art work, representing aspects of the Carnival culture of Trinidad and Tobago.

16.9.2019



Original sketch on paper

 



Before he transferred the design to
the copper sheet, Glendon lightly sprayed
white oil based paint on it, which will be
removed later with a solvent

 



Carbon paper is placed between the paper design and the copper surface and
the design is traced and transferred
onto the copper

 


After the design has been traced
through the carbon paper, it
is reinforced with a ballpoint
pen

 


These are handcrafted tools made by
Glendon to "punch the design lines onto
the copper. They are called "liners"
and are dullish so as not to cut the
copper but just punch the lines into it


 


Before punching the lines into the copper
a piece of rubber or a piece of sturdy but slightly flexible wax mixture is placed beneath the copper sheet

 


Glendon is using a liner and mallet to punch a line into the copper

 


He is showing the line he just punched
on the reverse side of the sheet.
Note the rubber tile below

 


Glendon showing different small
wooden hammers he made which are being used to punch larger areas through
the copper like the arms, bodice and legs
of the design

 

Progress of Art Work
21.9.19

After punching the outlines into the copper sheet, Glendon proceeded to make the background of the design, using a mallet and a background tool with 6 tiny prongs about 2 mm square. Punching the background naturally raises the figures of the Mas' players: the male "Sailor Mas' Player" and female "Indian Mas' Player". In the background to the left of the dancers is the outline of a Steel Pan, the only new musical instrument of the 20th Century, invented in Trinidad and Tobago.

The next step of the design will be the punching out from the back of the larger areas of the bodies of the two Mas' players, using special wooden "hammers".

 


Head of the background tool with 6 tiny prongs

 


Glen is using the background tool, punching in the prongs into the copper
with a mallet

 


Glen showing the back of the art work

 


Glen showing the front of the art work

 


On 1.10 2019 the piece is almost finished
Glendon is selecting tools to bring out details
of the design



1.10.19 - After hammering in the details Glendon will finish the artwork by
making a wooden frame

 

 

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