11/14/2017
The figure is wearing a tux with tails.
View from the backside of the piece- I added the back of the pants leg and jacket tail on the left side of the figure.
full body view
Both jacket tails welded in.
“Score” post #10 right arm
I have attached the right upper and forearm, hopefully in the right place. I am welding the armature for the concrete part of the sculpture. Attached to this armature will be the metal lath that the concrete rest on and the additional wire that will extend outside of the Concrete showing the energy of the music created by the violinist. I see the violinist as a pedestal for the sculpture. A very specific pedestal.
Right arm and torso
front view
View or right side
View from back
Left side
the bayling wire head head is a stand in. It was laying in my studio.
“Score” post #9 repositioning the left forearm....
....to hold the muIcal instrument.
I need to repositioning the left forearm to hold the violin. I have a bailing wire face attached to you he neck of the armature to help me visualize where the head would be.
front view
left side of front
left side
backside
figures backright side
Front right side of figure
I am excited that the piece still balances on it’s own, however it is starting to want to lean forward. In order to keep it balanced I will add the right arm next.
Why are some people ready, why do some people know the moment?
People ask me all the time where do I get my ideas. And I too am fascinated by where creativity comes from. I do not believe it can be taught and for most part it is not easy to describe as creativity, it is one of the great mysteries of the brain. However the Eudora Welty quote in Glasstire this morning beautifully states how I often find inspiration, or how inspiration often finds me.
“The title That Day underscores the viewer’s sense of being there beside the photographer and the way in which the captured moment remains ever fresh in the image, some of which were made as early as 1979. That was the year when Dallas-based Wilson began assisting Richard Avedon with his own six-year photography project, In The American West. Describing Avedon’s portraiture process in her 2004 book, Avedon At Work In The American West, Wilson noted that he would wait for what Eudora Welty called “a story teller’s truth… the moment in which people reveal themselves. You have to be ready, in yourself; you have to know the moment when you see it.” “
- gene Fowler
-http://glasstire.com/author/gene-fowler/
I guess the question should be why are some people
ready, why do some people know the moment?
a moment caught by a "gust"
“score” post #8 winging it.
11/09/2017
I decided to weld the arm pieces onto the torso. I started with the left arm and the palm of the hand. I am totally winging this. Since the piece is in motion I want the arm position to reflect movement. The left shoulder dips and the elbow digs into his side. The left forearm has to be free so the fingers can to move up and down the violin. The violin will be held in place between his chin and his shoulder/chest.
Next I decide to trace my hand to determine how long the finger pieces of steel should be. Then I draw in the bones and measure how long each finger bone is between the joints. My hand is smaller than the figures would be but by the time I add the lath and cement it should be the right size.
My hand pattern with bone measurements.
The hand pattern with two pieces of the palm of the hand bones cut.
Detail of the left arm and the palm of his hand.
The bones in the palm of the hand.
Now I need to see if I am anywhere close on the angle of the forearm and back of hand. I will do this by holding up a violin to the figure.
No, I missed it. Tomorrow I will cut the forearm off and reattach it with the wrist right under the violin. Then I will look at the angle of the hand. That might also need to be altered. Totally winging it.
New piece post #7 “score”
I am ready build the armature for the head. I find this terrifying for some reason. I have this wire fac I made last spring. I have attached it to the neck in order to experiment with the size/and shape of the head.
“Gust” artist statement tweaking
I continue to tweak new versions of possible artist statements for “gust”, looking for the perfect words.
How does this sound?
“Gust”
Woven in felt, every hat tells a story, shaped with memories, recording beliefs, and veiling sorrow, some eloquent and some twisted. Cradled in our imagination, they blow in strange, wonderful ways, spinning from past generations that are inhabited by our respect to balancing our present responsibilities and fears. In generations past, in fable and in legend, hats sheltered spirits, represented people and occupations, and defended against the elements.
“gust” In my kitchen after applying the patina. Living with this hat for a few days making sure I am finished with the patina in it.