Several weeks ago I leveled the feet so the bench will not wobble.
I am expanding my regenerative agriculture/sustainable living work. This additional work will air the devastating impact that pesticides have on pollinators. I have decided that, to portray the reported impact of pesticides on this basic ingredient for life, the artistic language for communicating this message will be scale, placement, technique, and media.
Scale- My paper is 44” T X 30” W. The pollinators size will be magnified approximately twenty times.
(Should I go bigger?)
Placement- The bee will be on its back, and dead at the bottom of the page.
Media- I will use watercolor as it immolates the water properties of pesticides.
Technique-I will attempt to apply the media so that It speaks of the pesticide spray, pollen dust and disintegration. Getting the perfect technique down is one of trial and error. Below are trials I-VI.
#2 getting better.
On day two I have decided to try adding more colors in the black and maybe blast it with a spray bottle of water and then print it.
I added color more color but it is not showing up as I would like. The wings are much better.
I added more color and.......in this photo you can’t see it. In person it is Subtle. I kind of like it.
I sprayed my plate with water after the last print and now I wait for it to dry. It is in puddles, it may never dry.
It has occurred to me that, working with individual bees, I am not addressing the colony collapse and disorder that will result. Should I? Do I need to?
Any thoughts to share?
photo by Nash Baker
At the end of every semester at Glassell, we clean out all the disheveled cabinets and drawers. We throw away broken tools and parts and reorganize the rest. A few years ago, while cleaning out the hammer and chisel drawer, I came across a worn out sledge hammer. Through the worn garish red paint the satiny steel skin of the mallet was unblemished, it had gotten better with age. Its handle on the other hand had not weathered as well. It resembled more of the rugged surface of old drift wood than a powerful hand tool. Its life had been extended several times with layers of duct tape that were now thread bare. I could only imagine over the years how many passionate sculptors had partnered with this handle and mallet to create their dreams; how many artist used it to mold their creations. I loved it for the history it held in the splintered grains of wood of its handle and the silent strength of its barely-red steel mallet. It’s days of hard labor are over. I bought the school a shiny new blue and yellow sledge hammer with a rubber handle and took the old red maul home to rest. Uncertain of its exact future, it rested on my den coffee table for the better of a year. Guests always comment on what a cool tool it was. It sparked unsolicited stories of hard work, of past labors and stubborn relatives. This summer, I decided to make a mold of the old maul. Each casting will tell a different story. This first casting is “You Make Me Stronger,” an ode to great partnerships as in the one with the artist, the handle, and the mallet.
In the fall of 2016 I decided to experiment with sculpture materials. I challenged myself to sculpt a new sculpture a week, each week in a different material. As my subject, I chose the German beak crested trumpeter with leg muffs pigeon because he allows me to express a lot of movement and energy. I have many drawings and a bronze sculpture of the German beak trumpeter. From a sculpturing point of view, his feathery feet keep him balanced without a pedestal allowing for lots of the expression of energy and emotion.
It turns out that the bird known in the US as a German beak trumpeter pigeon is the same bird that Picasso drew as the peace dove. Everyone knows His famous "peace doves". This particular pigeon was given to him by Henri Matisse. It is described as a Milanese pigeon. Possibly it was from Milan, but you can tell by the fancy feathers on his feet that it is a German beak-crested trumpeter with leg muffs. In German and French, the term pigeon and dove are interchangeable.
I am no longer committed to sculpt a peace pigeon a week but I don’t hesitate if a material or found object jumps out at me to turn it into a sculpture.
The very last beak break.
The movie about Vivian Maier greatly influenced me to keep as much of my work as possible. I am glad to see that her work is still relevant and getting shown.
I was so happy when I was contacted by Jeff Schultz of Houston Responds. He needed images to illustrate his booklet for recruiting people to help the people in Houston who are still recovering from Hurricane Harvey.
Unfortunately I was not able to include the Bible study booklet. Below are a few of our emails. Helping others is the best -
“High horse” ghost print
44” X 30”
I stared a new section in my Hurricane Harvey series of Harvey Heroes. These will all be LIVEstock rescues.
I made the first one today,
This is my first large monotype.
I have always wanted to go larger, but the temporary location of the Glassell School of Art did not have a big press. The pieces in this part of the series will all be 44” X 30” The Glassell printmaking studio has fabulous light, is super clean, and I love working in it. Alexander Squier, the head of the department and instructor makes sure everyone keeps it spick and span. This is the fourth time I have taken the class, print making is addicting and you need a press to feed your addiction. Plus Alexander is great.
Here is the ghost print. Something happened to the ghost. I am not sure what caused the mark that runs through the middle. When it dries I will try to fix it.
The ghost - “bringing home the bacon”
My work space in the Glassell printmaking studio
Me fake working for a photo op.
Now that I have three pieces in my women’s movement body of work I have decide to alter the title and artist statement of this piece.
March 3, 2013 - Woman Suffrage Procession -Inez Milholland
Riding aside historically represents oppression of women's rights. Suffragette Inez Milholland rode astride in the 1913 ride/march on Washington. Inez was not only protesting for the right to vote, own property, to sue, but also to ride astride.
This is my first piece of work that addresses the women’s movement. It first resonated with me purely from an aesthetic point of view, as I knew the aged leather would reproduce beautifully in bronze. What I did not realize, however, was that this sculpture would represent more than a stereotypical Texas western symbol. In my women’s movement body of art it represents the strength of Victorian women and the beginning of the women’s movement, the March 3, 1913 suffrage parade in Washington.
For more information in the 1913 women’s movement see the links below.
Today I put the first coat of concrete on the feet. I use rockite a concrete mixture used for making repairs in concrete.
Right front and back pre rockite
Right front and back feet with rockite.
1 lb. rockite 3 oz. of water.
When I work on Griffin and Alex’s wedding gift I always find myself thinking about their future. Today I found myself thinking about their (Griffin and Alex’s) future children and how similar yet how different children can be and how perfect they each are. Just like the feet of a bench.
I am making the abstract leaves in wax. They will eventually be bronze.
I have made more than enough. I made some of the stems out of red spruces. The stems will self vent the gases.
The lid of the our cup is now cut off.
Have I done enough? Which should I edit? Include the cot, don’t include the cot???? How should I compose them as a group?
The Glade Arts Foundation had a Halloween event, for which they booked a local graffiti artist to create a piece during the event. At the last moment, he had a conflict. I was asked if I knew anyone that could fill in, I couldn’t find any takers They needed an artist to create art during the event that would be fitting of Halloween. I am a sucker for anyone in need and offered to come up with something. I wrestled with a few ideas that I thought would be fun to watch - ink bubbles or lemon juice and fire. I went with fire. When my son was 8 years old, we threw him a magician birthday party. I wrote the invitations with invisible ink, (lemon juice) with instructions to apply fire to the invitation to make the words appear like magic. With that experience over twenty years ago in mind, I showed up at the Glade Arts Foundation with my torch, lighter, graphite stick, charcoal, and stick of white pastel and jumped.
Below are the results that landed:
The portrait was the finale and about 48”wide. The others were my experimental play. I always try new materials on images I am familiar with.
These were the prizes for the best costumes. The winners requested that I sign the front.
It was really fun to interact with the guest and to be a link in the human chain of life.
The handle for the tool
The cup is cut off and I have lots of holes drilled in the sprues to blow out the organic matter.
After considerable consideration I have decide to table the cot sculpture. I have too many ideas that are not a struggle.
Art based on a natural disaster can weigh on one’s emotions. With that in mind, and the fact that I would like the viewer to have a positive inner feeling after looking at my work, I am playing with adding a shaking dog to the body of work. I want the dog to be generic so that everyone can see their dog in it and I would like the dog’s energy to leave the viewer with a smile.
Below are my first attempts. I hope one works.
This project started with two monotypes of the Red Cross cot.
Below is an exert from my artist statement that addresses the cot.
.......... I was confronted by a single cot. It was freshly dressed in a crisp white sheet accessorized with a fluffy white pillow and tucked in by a cozy, white flannel blanket decorated with tiny Red Cross logos all over. It was isolated from the others waiting for the next victim of Harvey to tuck themselves in and comfort them with safety. With all the rescue images of people trudging through unsanitary water, homes floating in floodwater fresh in my memory bank that cot was shockingly - humanity. 30,000 GRB citizens would be relieved to make it their new homestead. It was heart breaking - and beautiful all at the same time. I could imagine if I had been rescued that that cot would have been a along awaited relief. That I would not have asked the sheet thread count or if the cotton was grown pesticide free. My heart hurt for all those who were grateful to have such a cot. That cot, that crystal clear image of stripped down humanity is the Harvey image that holds onto me.”
Last week I began to experiment with the cot. The drawings of the Harvey Heroes can stand alone, however I think that there will be exhibitions that the cot as a pedestal for a sculpture would strengthen the work and can be used independently.
I had planned on putting a wire dog sleeping on the cot. It is not working for me.
I think I need to put on the cot a larger sculpture and maybe a warmer material instead of the baling wire
Testing the wire mesh in front of the cot. Clear plastic is on top of the blanket to keep it clean.
this figure might be nice on the cot. It is a drawing I did a few years ago.
I don’t know
the Red Cross blanket w the drawings and wire Still is not working for me.
maybe I should put a thin layer of paint on the images on the blanket-
I have a hard time letting go but nothing was really clicking. Today I let go, today I donated the cot, sheets, blanket and pillow to the homeless that sleep below my studio window. I have decided to spend my time on a better idea.
I do have an idea for a sculpture. I will post about it soon.
Roots are said to be tools in regenerative agriculture. With that in mind I have decided to cast the root in bronze and then add a faux bois handle in concrete to it. l plan on casting a few roots all different but all tools to be displayed together. Below I am working on the first root tool of the series. This one will have a bronze handle attached to the faux bois
Spruing up the roots. I have dipped cross stitch thread in wax and attached it to vent the gases from the small root pieces.
Sprucing up the handle.
I have very strong views on the connection between agriculture and health. I prefer to only eat organic grass-fed beef. I prefer to not eat any gmo products and I feel best when only eating sprouted grains. I want to know where my food comes from and how it is produced. Agriculture has a huge impact on our personal health as well as on our environment. Roots play a large role in regenerative and sustainable agriculture.
The first root - The root is fabulous all by it’s self.
The trunk is not so fabulous.
Off with the trunk-
Failure #1- Experimenting with ideas- this idea emphasizes the important of roots in sustaining life. - too obvious
Failure #2- Another experiment- “burden” I grabbed this marble sculpture I did a few years ago. I have always wanted to burden it with something on his back.
I like the thought, I think it either needs more more more roots or a Sprout coming out of the root.
The root would be bronze.
Stay tuned to see how I will use the roots.