Maximum Sculpture
Musings on making, teaching and being around sculpture.
Sunday, July 15, 2012
Friday, July 13, 2012
Traveling-Tall-Tale Wednesday
It's Sunday
in Ohio. Church and breakfast are the day's priorities for the natives. David,
my traveling companion, and I are nearing Delaware, OH and David requests a
pit-stop. Foretelling, because no sooner had we pulled over, then I saw grey
goo squirting from the tire of the trailer in tow. (right side) After a trip
inside myself, thinking, "maybe the grey goo is just normal, you know,
like sweating," I retruned to pancake flatness. Time to put the spare on.
But first, we needed to unload the trailer, probably about 800 pounds of wood
in managable batches. That done, I realized we have no lug wrench and a trip
inside confirmed that our handy pit stop didn't go as far as servicing vehicles
(They would later also not be able to even offer me air, "oh, they took
that out a year ago..") Traveling about 20 miles, I purchased a lug wrench
from a very nice man at Advanced Auto Parts. I then returned to where I had
left David, the trailer and all the trailer's contents. But wait, I jumped! The
nuts had been removed by some kind fellow traveller with a spark plug socket.
Great! I used the new wrench on the other tire--you see, the spares were a
different size than the originals, so if we changed one, we changed both. Next,
fill with air. I used a small electric pump I just happened to have in
the back of my truck. A little water on the tire to test for leaks and bummer;
Don Ho's "Tiny Bubbles.." became more than just a fun song. The
spares leaked. (Time check: 3hours since we pulled off.) Now David and I
both ditch the trailer and all my wood, strewn about the front lawn of the
service area, to go find tires, on a Sunday, in Ohio. I knew from years
experience that most components of a sculpture look like trash to civilians. So
I trusted no one would steal my stuff. After a long trip through rural OH, we
hit Delaware proper and I went into the first open store I see, a Tattoo
parlour. So this is where the
other half hangs until 1pm. The
nicest man directed me toTractor Service Center "just down the road," which
always turns out to be an eternity if you're not from the area. So, 4 hours into the stop, we have 2 new tires. An hour later we are on the road.
Traveling-Tall-Tale Wednesday
In 2010 I was invited to
install a work on the lawn of the Lexington Art League. Long--impossibly
long--story short. The work was 1.crushed by a 200 year old tree 2. burned by a homeless man in an effort to
"keep warm."The final work was much different than my initial idea,
and I have been fortunate to be able to install my latest work in Lenox, MA as
part of the annual SculpureNow show. I don't know what got in the way
in Lexington. I probably never will, but the twice loss of a work did teach me
something; the press loves disaster. My misfortune generated tons of press. I'm
told it even made the crawl of the Today show. Onward. (caption: The tree
obviously didn't have it in for the cheap lawn furniture.)
Traveling-Tall-Tale-Wednesday
Here's a
traveling tip if you find yourself in the Albany, NY area. The hotels that
surround the city fill up on weekdays not weekends.
It's opposite from what you encounter in most parts of the country. Typically,
Friday and Saturday are the busiest days for most hotels, but In Albany (and
maybe other capitol cities) the rooms are booked during the week. This is
because the state legislature is in session and assembly men and women must
travel to the state capitol in order to engage in sausage making.
Just a
friendly reminder when you find yourself in Albany on a Monday!
Onward-and-Upward Friday!
CHENG LONG
WETLANDS International Environmental Art Project in Taiwan Artists from
all countries are invited to send a proposal for a site-specific outdoor
sculpture installation that will involve working with local elementary school
children to create an artwork focused on making the Cheng Long Wetlands a
“greener” place where biodiversity can flourish.
The artist
accompanies a Park Ranger on a backcountry patrol. Patrols may accommodate the
artist to a certain extent, but artists must be both physically fit enough to
attempt such a journey and possess the skills and experience for extended,
rigorous wilderness travel. Each year there is one Artist in Residence Patrol
of 10 to 14 days. Residencies usually take place during the summer from July to
Sept.
Wednesday, July 11, 2012
Inside-Baseball-Sunday
Sculpture
engages our bodies and our
minds. Sculpture is a physical exploration of relationships within and
between forms and ideas. In Sculpture we tackle physically essential dilemmas;
drop something, it falls to the ground; strike a blow on a material, you’ll
leave a mark. Yet art making is also the act of giving shape to spirit. Artists
make the invisible tangible, they conjure something the world doesn’t know it
needs, yet something the artist desperately needs to see for him/herself. In
sculpture we explore the technical aspect of making art, its
mythical/conceptual aspect, and methodologies artists use to make work. Through
exploration, we come to realize these facets are inter-connected.
Inside-Baseball-Sunday
From an interview with Art Is Moving
http://artismoving.blogspot.com/
http://artismoving.blogspot.com/
Can you talk
about your sculpture?
My work is
rooted in physical and poetic understandings of nature, (and I mean
nature in the sense of an inter-connected web of people, places, and things.) I
place a special emphasis on the relationship of these understandings to my own
emotional life. The invisible life of emotions is fascinating to me, and
while I’ve used many materials over the years, wood, intensely familiar and
knowable, remains the best-suited material for constructing three-dimensional
objects that serve as metaphors for human stories. For me, the most prominent –
and interesting – characters in these stories are unfulfilled desires, fear,
and the expression of a longing for safety and comfort in all its
manifestations. I make vessel or “basket” informed work – pieces I
call bascauda, from Latin meaning kettle or table-vessel – and think of
these as keeping places for past remembrances. I also make work I
callmembrana – from Latin meaning parchment or that which covers members
of the body – these works recall boats and/or shields, essentially objects
that cover and protect the self. My work method involves a lot of
laminated wood construction, weaving, binding, etc. I’m drawn to very low-tech
assembly methods because I like the direct connection with the materials. I use
machines and current technologies, but simply can’t stand the “distance” this
puts between me and my work. I like to think of the layers of wood like layers
of memories accumulated over time that, like memory, possess both a sense of
certainty and a sense of the uncertain.
Labels:
form,
sculpture,
structure,
teaching art sculpture
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