Endangered Knowledge: The Soul of Humus - #8 Hooves

One of the most critical problems to solve is the placement of the hooves. They will be welded to Steel plates that act as the base. The base serves several purposes; it will make it easier to transport the piece without damaging it, it will make working on a large piece safer and less likely to fall on me. I am going to use 4 - 14” X 14” 1/4” steele plates. One for each hoove. This will give me the flexibility to adjust the placement of the hooves as the piece develops.

I am sending the hooves to Blumenthal metal and having them weld the hooves to the plates. It is tricky welding to a thin plate and not warping the plate.

I am sending the hooves to Blumenthal metal and having them weld the hooves to the plates. It is tricky welding to a thin plate and not warping the plate.

Why is this important to me? Please see Endangered Knowledge: The Soul of Humus

Lawndale Art Center - support image

It does not stand to reason that gardens or yards in Texas, Maryland, California, Iowa, and Illinois should all be landscaped with the same selection of plants. The below image from Native Texas Gardens says it all. In a country with great diversity from coast to coast, shouldn’t the sculpture garden landscapes be embedded in plants that define the place?

It will be more interesting to see sculptures in gardens of indigenous plants, plants that define the place, terrains that have attracted its people and impacted its economy. A sculpture of a boat marooned in a desert landscape might imply global warming and the same wooden vessel docked in a sea of woody pines congers up thoughts of concervation. one thing the same boat Sculpture changes across geography. What does sculpture look like in a coastal prairie sculpture garden?

Page xviv of Native Texas Gardens, maximum beauty, minimum upkeep by Sally and Andy Wasowski.

Page xviv of Native Texas Gardens, maximum beauty, minimum upkeep by Sally and Andy Wasowski.

Adjustments.jpeg

Endangered Knowledge: The Soul of Humus - #2 A closer look at the materials I have so far.

I am in love with these textures and I can hardly wait to incorporate them into my Endangered Knowledge piece. I do need to figure out how to fade the green out. I do not want a green bison. I think the answer is sunlight.

IMG_1327.jpeg
IMG_1328.jpeg
IMG_1329.jpeg
IMG_1330.jpeg
IMG_1331.jpeg
IMG_1332.jpeg
IMG_1333.jpeg

Same Time Next Year 2017, 2018, 2019

Same Time Next Year, is an annual survey of organic found objects preserved in the form of a bird’s nest cast in bronze. I retrieved these objects in a given year. I started making these modern-day fossils in 2013; each piece is a smidgen of a historical record of the natural world found in urban Texas. I include things I pick up gardening, walking my dog, flipping my compost bin, and daily outdoor chores. They are things that find me; I never go out hunting for them however I am always looking. Neighborhoods today are exceptionally manicured to the point of being sterile as opposed to full of life. Mosquito home misting machines and heavy weed control chemical additives keep the insects, birds and available organic matter relatively bland. I am campaigning to change the landscapes of urban settings. One day I hope there will be a greater diversity of found materials.

This year I am playing catch up and created the pieces for years 2017, 2018, 2019, in these pieces, there are bug casings, dried flowers, bug carcasses, twigs, wings, feathers, leaves, seeds a beetle, cicada and a dead bee. In January - March, I coated them in wax, sprued them up, dipped them to make the shell, and did two burnouts at the MFAH Glassell studio school foundry, and then the COVID 19 quarantine kicked in.

The MFAH responsibly closed the school but allowed us to pick up any work. I picked up the shells and took them to Legacy Fine Arts Foundry. They are great people, I have used them on several occasions on projects over the last six years. Their work is phenomenal; they finished burning out the shells and cast them, broke off the shells, cut off the sprues, and sandblasted the nests. I could break off the shells, but I have torn my shoulder twice, breaking off shells. I am so grateful for their help and enjoy working with them. I am excited to have the pieces cast, and I am ready to do the finish work and patina. 

Below are the images I took as I worked on the three nests. 

IMG_5740.jpeg
IMG_4915.jpeg
Shaping the dried organic matter.

Shaping the dried organic matter.

Adjustments.jpeg
Creating a system to get bronze into the sculpture.

Creating a system to get bronze into the sculpture.

The best with the wax sorue system.

The best with the wax sorue system.

IMG_5419.jpeg
The sprue system after the first dip in slurry.

The sprue system after the first dip in slurry.

All three pieces after several dips.

All three pieces after several dips.

Drying after the last dip to build the shell.

Drying after the last dip to build the shell.

My tools to cut off the top of the cup and blind vents. The wax will drain out if the tuop of the cup. I also drill holes to keep the shell from cracking as the wax expands in the furnace.

My tools to cut off the top of the cup and blind vents. The wax will drain out if the tuop of the cup. I also drill holes to keep the shell from cracking as the wax expands in the furnace.

After cutting the cup and blind vents.

After cutting the cup and blind vents.

The pieces at legacy as Victor is breaking off the shells.

The pieces at legacy as Victor is breaking off the shells.

The three nests and some small bronze casting to use for studio visit gifts.

The three nests and some small bronze casting to use for studio visit gifts.

Nash Baker is my art photgrapher, Nash lost his photography studio to a fire studio during COVID. I will wait to have these pieces photographed when he is back in operation.

Sapling #7 - lath, 1st coat and second coat. (Copy)

My daughter special requested this piece. She asked if I could make her a sapling. My response was I could try, but the pencil size steel limits how thin I can make the tree limbs. Long story short, the sapling grew old fast. After the first coat the sapling limbs we're no longer sapling thin.

Covered in lath

Covered in lath

Keeping an eye on my mix

Keeping an eye on my mix

The first coat - the bronze leaves are covered in green plastic to protect them.

The first coat - the bronze leaves are covered in green plastic to protect them.

First, I paint on the bonding liquid.

First, I paint on the bonding liquid.

The piece is now ready for coat number 2.

The piece is now ready for coat number 2.

Coat number 2 ✅

Coat number 2 ✅

Here is the image edited super light in order to show the texture.

Here is the image edited super light in order to show the texture.

More details

More details

Detail of upper branches

Detail of upper branches

A little more concrete need under the bird.

A little more concrete need under the bird.

Detail of trunk

Detail of trunk

The lower trunk and base.

The lower trunk and base.

The abundance of knots is evidence that this tree is the host of many insects and good bacteria. Bees and other insects use trees for nesting and receive antiviral properties from the fungus and bacteria that grow on the tree.

Faux bois Wedding gift ❤️❤️#18

It turns out I did the first finish coat in white concrete. I have decided to put another coat on in the great concrete.

Here you can see the difference between the white and the grey Portland concrete.

Here you can see the difference between the white and the grey Portland concrete.

I also have a repair to make on a back leg.

I also have a repair to make on a back leg.

Repair made

Repair made

The new underside top coat with personalization note for The newly weds.

The new underside top coat with personalization note for The newly weds.

The year the married 1/3/2018 and there names griffin Joseph Klement and Alexandra Marie Groome Klement

The year the married 1/3/2018 and there names griffin Joseph Klement and Alexandra Marie Groome Klement

With love from me- Mom -cindee Travis Klement and Curtis Joseph KlementThe inspiration is from my grandparents yearbook page so I added my maiden name to the left of my name. I put the Klement last name between both sets of names.

With love from me- Mom -cindee Travis Klement and Curtis Joseph Klement

The inspiration is from my grandparents yearbook page so I added my maiden name to the left of my name. I put the Klement last name between both sets of names.

Adding a stump to this root. I am on the fence on this.

Adding a stump to this root. I am on the fence on this.

Endangered Knowledge: The Soul of Humus #1a and Sculpture Month Houston

In a moment of global uncertainty, I ask myself, what materials would I use to leave a message for future civilizations? As I think of artists who painted caves, of muralists from the past, of artifacts from ancient civilizations, I am curious about how we leave a mark. My answer is tied to the natural world: much of my previous work has been about conservation issues, looking specifically at bees, at waterways, at recovery from Hurricane Harvey, at bison and now, at grass. And so, if I were to write a message to the future, I would use grass to write it, and bison to carry the message.

 

Endangered Knowledge: The Soul of Humus

 

For this year's Sculpture Month, I propose a site-specific sculpture of a bison, made from a welded steel armature, a work of land art covered in topsoil and dried native grasses. This is part of a comprehensive installation that I am currently developing, which considers the role of the American bison within Houston's specific soil ecological history. The work is titled Endangered Knowledge: The Soul of Humus.

 

It is inspired by the words of M. Thomashow, who writes, "Record natural history to the collective memory so that it is no longer endangered knowledge." For several years, I have been researching grass-fed food production, attending soil conferences, and visiting regenerative ranches. Research in these fields show how to fight desertification and reverse climate change through regenerative agriculture practices. Interestingly, this natural history of living soil, how it evolved in the Houston Coastal Prairie, and its essential part within microbial communities in human health, is not common knowledge. 

 

Description of Work

In the hide of a sculpture, I tell the narrative of soil health. My sculpture will record this endangered natural history through the dense coat of the powerful humus-built bison, that will be dripping in the armor of locally sourced dried native grasses and sedges, seeds, and pods. The male bison will be supported by a welded steel armature, covered in a stainless-steel lath. The bison's skin, made from these dried grasses, will be attached to the lath with a Houston mud composite. I propose the 11' long bison be exhibited in the center of a large grain silo, the bison in an actively grazing stance, head down in plow position, his hump rising robust and bushy out of his heavy forequarters to 6.5' tall. Lighted from inside the grain silo funnel, viewers can approach the bison and intimately inspect the diversity of the native plants implanted in its pelt.

 

Ecological History

Historically B. bison functioned as the first farm equipment. The grass seeds clinging to their burly coats were carried across the plains as they migrated north to south and back between seasons, like tractors up and down fields. Herds of tractors not green, but a rich brown harvested the plains with their appetites, each bite stimulating new root growth. The old roots withered into cavities that served as dwellings for a variety of keystone species, and became underground cisterns collecting floodwaters for drier seasons. Their coats dropped kernels and cuttings as the winds ruffled their beards and chaps, and when they took dirt baths in buffalo wallows dug with their horns. Massive roaming compostors, a single bison cow daily dumping 40 lbs. of fresh manure onto these seeds and drilling them into the earth with their spade-like hooves, sprinkling them with the perfect prescription of nitrogen, phosphorus, and potassium-rich urine and then moving in a predator safe tight herd on to the next buffet. With time the newly sowed fields sprouted new growth of blades, stems, and leaves of countless shapes, sizes, and heights. This diversity of leaves fit like puzzle pieces into dense living solar blankets, harnessing carbon from the air and returning it as sugars to feed the dynamic root microbiomes below the earth’s skin. The complicated relationship between the soil microbiome and the human intestinal microbiome is one of the most dynamic topics in biomedical research.  Flocks of birds mutualistically

living off the pests harbored on the bison followed the herds, drinking from and bathing in rainwaters that collected in the bison wallows, building their nests from clumps of bison fur. Recent studies show the fur provides a health benefit to unborn chicks. Bird and butterfly habitats were abundant when the bison roamed.

Relevance

Global warming, food security, drought/flooding, wildlife habitats, economic instability, and health – these problems are not new to humankind. The archeology of ancient civilizations has recorded connections between the longevity of civilizations and the health of their soil. The United Nations reported in 2014 that the world's topsoil would only last 60 more growing seasons. Soil scientists around the globe agree that solutions to these issues are rooted in our treatment of soil—the skin that covers our planet.

 

Message to the Future

The armor that protects the epidermis in the Gulf Coast prairie is grass. The animal whose population peaked at 30 million, is B. Bison. Combine native grasses with ruminants and the grasslands decompose into rich organic matter; for every 1% increase per acre of biological organic material, the soil can hold an additional 20,000 gallons of water. Restoring native prairie vegetation decreases water runoff and flooding, increasing soil absorption of water and slowing floodwaters on land. With extreme building practices and concrete hardscaping, reimagining the landscape of Houston's 600 square miles of real estate can make a significant impact on the region’s flooding. The prairie grasses' roots can extend from eight to fourteen feet deep: these roots sequester carbon like an upside-down rainforest. Changing our agricultural practices is an important step towards turning global warming right side up. Telling the dynamic story about these relationships between the grazing herds, the living soil, and finding ways to reimagine urban landscapes and agricultural practices in holistic and regenerative ways are the center of my current research and sculptural practice.

 

The impact of the bison on sustaining topsoil—and, therefore, life—need not be Endangered Knowledge. The role bison play within the prairie ecosystem—their ability to increase photosynthesis, reduce competition for water, and regenerate depleted, unsalvageable, lifeless prairies back to productive and bountiful, nutrient-producing land and wildlife habitats—needs to be carved into our modern systems. Recording this Endangered Knowledge into the consciousness of humankind will stimulate grassroots efforts and stop the cultivation of soil depletion and return the natural process to the treatment of the skin of our planet. A Parietal artist in 2020, I will use grass to record the Soul of Humus so that it will no longer be Endangered Knowledge.

 

Additional work

Soul of Humus will be the first piece in my Endangered Knowledge body of work. The complete body of work will eventually consist of the following sculptures: 4 pedestal-shaped sculptures of roots and soil, measuring approximately 12" X 12" X 36"; installations made from native grasses and their roots (size and number to be determined); 1-5 bronze castings of bison dung with their spade-shaped hoof prints, dung beetles, and mushrooms. I am also currently in conversation with a bison rancher to secure a bison heart to float in a glass case of formaldehyde: the bison, the largest mammal of the western continent, is the heart of our soil diversity, it is the western symbol of a healthy planet. The health and longevity of civilization, as we know it, is dependent on finding ways to mimic the natural process stampeded into the bayous of Houston. In this sculptural series, I look closely at the components of this process and the environmental interrelationships unique to the Houston area and world health. 

 

Footnote-

Bison vs Buffalo which name is correct? The common name Buffalo has been widely used, since early settlers were naming them as their European and Asian counterparts. The correct name of the last American surviving bison is B. Bison.

 

Further Reading and information –

- Allan Savory on how to fight desertification and reverse climate change

Soil as Carbon Storehouse: New Weapon in Climate Fight? - Yale E360

- A Prehistory of Houston and Southeast Texas,– D. Worrall, coming fall 2020

- Can Livestock Grazing Stop Desertification?

                   https://www.scientificamerican.com/article/can-livestock-grazing-stop-desertification/

- Dirt: The Erosion of Civilizations, by David R. Montgomery

- Soil Biology and Land Management https://www.nrcs.usda.gov/Internet/FSE_DOCUMENTS/nrcs142p2_052489.pdf

- Bison Eating Habits

- Wildlife that Depend on Bison

 

 

 

Sample Work and Visual Support Materials for Proposed Sculpture

 

Two small sculptures that are made with the same structure, process, and made with native plants-

The bison will be furrier than these small birds are and would be dripping in a thick coat of textured dried grasses.

Hay Day Peace Pigeon 201615” X 12” X 8”welded steel armature, plaster and hay

Hay Day Peace Pigeon 2016

15” X 12” X 8”

welded steel armature, plaster and hay

 

Feathery Finery Peace Pigeon 201612” X 12” X 6”steel armature, steel lath, plaster and plants

Feathery Finery Peace Pigeon 2016

12” X 12” X 6”

steel armature, steel lath, plaster and plants

Three large sculptures that are made with the same armature and process, but I have used metal instead of dried plant cuttings  on the surface for texture.

Broken 201840” X 29” X 55”Welded steel armature, stainless steel lath, concrete, wire cloths and wire

Broken 2018

40” X 29” X 55”

Welded steel armature, stainless steel lath, concrete, wire cloths and wire

Sonata in 4D 20186’6” X 5’5” X 5’steel welded armature, stainless steel lath, plaster, wire cloths and wire

Sonata in 4D 2018

6’6” X 5’5” X 5’

steel welded armature, stainless steel lath, plaster, wire cloths and wire

Bringing Home the Bacon 201966” X 42” 60”welded steel armature, stainless steel lath, hydro stoner, wire cloths and wire

Bringing Home the Bacon 2019

66” X 42” 60”

welded steel armature, stainless steel lath, hydro stoner, wire cloths and wire

There are many textures of native grasses at the Katy Prairie Conservancy and Buffalo Bayou.

If you accept my proposal, I plan on asking the Katy Prairie Conservancy and the Buffalo Bayou Partnership to allow me to source my grasses and plants from their properties.

Sample of one of the many amazing textures on the various grasses and plants in the coastal prairies.

Sample of one of the many amazing textures on the various grasses and plants in the coastal prairies.

This shows the movement I am visualizing on the coat of the Bison

This shows the movement I am visualizing on the coat of the Bison

Below are Some of the source images I will use while sculpting the bison.

 most of these I took doing research at Roam Ranch this summer, fall and winter.

This shows the position of the head I am looking for, it is grazing but you can see the face. This is a cow (female) My piece will be a burly big old male.

This shows the position of the head I am looking for, it is grazing but you can see the face. This is a cow (female) My piece will be a burly big old male.

This is a large bull but it is not very old. My sculpture will be an old male that will have scrapped up and chipped horns from fighting and digging wallows and a massive thick (and dripping with dried grasses) big beard and chaps. This side view is…

This is a large bull but it is not very old. My sculpture will be an old male that will have scrapped up and chipped horns from fighting and digging wallows and a massive thick (and dripping with dried grasses) big beard and chaps. This side view is pretty close to what I have in my head. I might have his head turned slightly to one side. That could be determined by which side of the building the silo would be on. The face will be more interesting and textured than the back side of the bison will be. My sculpture would be grazing on taller grasses. I would also raise his head for more eye contact

This is a good image of a bull’s face. Not my photo.

This is a good image of a bull’s face. Not my photo.

another view- not my image

another view- not my image

Art Activist and City Council Woman

It was never my intent to become an environmental activist – I am beginning to wonder if that is what I am. Since the below email I have had one meeting with Sally Alcorn and her assistant Hannah Cobb. They are on board with my thoughts and want to help. We decided the first step is to look at the citi’s present landscape ordinance, and then Coronavirus 19 hit Houston.

I guess even in a pandemic certain things have to continue, such as city budget planning. I received an Instagram message from Sally April 27th at about 11:00 pm regarding a video of the City Council meeting and the City Parks budget. I will make another blog post summing up the results of that meeting. Maybe this pandemic will open some doors that normally would not budge.


TO:  Sally Alcorn salliealcorn@comcast.net

Dec 27, 2019, 10:14 AM

RE: Houston’s impact on bees.

Sally,

It was great to run into you at the mother-daughter Christmas party. I appreciate your interest in positioning Houston to become the leading city in the U.S., addressing the native bee environmental issue. You have a lot on your plate with your new elected position, so I thought I would recap a few of the important topics we discussed.

Scientists predict that without pollinators, human life can only continue for four years. In 2017, the U.S. Fish and Wildlife Service listed the Rusty Patch Bumble Bee on the endangered species list. The campaign to list a species as endangered is lengthy and complicated. With this system, it is difficult to gauge how many species are actually endangered. 


Bees are responsible for pollinating 75% of the world's flowering plants; they are crucial for the production of most fruits, nuts, and berries – our agriculture depends on pollination by bees. 

Rural areas are highly impacted by the unanticipated consequences of our industrial agriculture’s dependence on chemicals that weaken bee’s immune systems. Urban bee populations can be more diverse than in rural areas. Researchers are finding in cities such as Chicago, Berlin, Berkley, and Melbourne that have reimagined their parks, neighborhoods, city centers, vacant lots, street medians, and rooftops planted with native flowers, grasses, and fruit, and vegetables support healthy, vibrant wild native bee populations.

In the US, there are four thousand native bee species. They pollinate over three hundred times more effectively than honey bees. For example, A single female Leafcutter Bee visits 100,000 plus blossoms per day whereas a honey bee visits 50-1000. 

Unlike the honey bee, Native bees do not swarm, are not aggressive. Native bees are perfect for urban population centers. 

Houston covers 600 square miles of land and has one of the longest growing seasons in the U.S. As it continues to sprawl across Texas, its gardens must increasingly become a refuge for native plants and animals. With 2.3 million people living in the most vital economic, cultural center of the south, we can become the most critical urban native bee habitat in the United States. 

I have spent the last year and a half studying the bee situation as it pertains to my art and my interest in regenerative agriculture. I am determined to take this knowledge and save the bee in urban settings.

With Houston's land size, population, and location in the Sunbelt like it or not-we are impacting the bee population. 
I realize we will have to start with baby steps. Let's put our creative minds together, save the native bees, and build a better energy capital. This is a great opportunity for our new city council. 

I am very flexible are weekdays or weekends better for you to get together?

Best,

Cindee

 

P.S.

If Cuba can create urban gardens to feed it’s poor can you imagine what we can do.

https://www.usnews.com/news/cities/articles/2019-02-13/urban-agriculture-what-us-cities-can-learn-from-cuba

Faux bois Wedding gift ❤️❤️#15

Today I poured 30 lbs. of white concrete and 29.5 lbs. of grey Portland for the seat. In the mix was .5 lbs. of the ashes of Robert Ira Travis, my dad. He was born on December 10, 1927 he passed away March 24, 2018. When I measured out the ashes thIs small metal piece was in his ashes. I think it must have been part of one of his four hip replacements or two knee replacements. It was like finding the toy in a box of cracker jacks. I think Griffin and Alex will enjoy it embedded in their piece.

Bolt, name and ashes of R.I. Travis.

Bolt, name and ashes of R.I. Travis.

I used the white concrete to create motion in the old wood.

I used the white concrete to create motion in the old wood.

I went a little crazy

I went a little crazy

The seat has lots of rings from burls in the plank. Griffin and Alex love bugs and mushrooms (the fruit of fungi) both of which cause burls. The seat of their bench is riddled with big burls.

A sweet knot with some severe old wood cracks.

A sweet knot with some severe old wood cracks.

Once the piece hydrates for 5 days I will take a sander and smooth down the seat.

IMG_7797.jpeg
I gave the birds a knot to perch on.

I gave the birds a knot to perch on.

Another view of Bob Pa’s moment in the bench.

Another view of Bob Pa’s moment in the bench.

Every few hours I check on the marks to make sure they have not filled in. There is a lot of concrete on the seat and the white concrete is taking a long time to set.

Faux bois Wedding gift ❤️❤️#14

I was not happy with the results of last Thursday's work on the upper branches. The concrete was not sticking to the scratch coat. Afterwards I went through the past blog posts for this piece and this is not the first time I have had trouble with the cement sticking. I made note that the liquid part of the concrete mix was too old. Good to know, the best part of a blog is the documentation of the work. As a result of the old liquid the branches ended up lacking detail. That is what happens when one takes multiple year's to finish one project. Today's work looks better. It does have it's share of wormholes and I love wormholes. I am a sucker for any piece of old wood eaten up by worms. That is the beauty of old wood.

Wormholes and knots

Wormholes and knots

Below is a photo journal of the process.

Mixing the wet part of the concrete mix.

Mixing the wet part of the concrete mix.

Mixing concrete is very similar to baking, you have to measure every ingredient precisely and mix them in the correct order.

A sound concrete mixer is a must; hand-mixing concrete is just too physical. I love this machine. Behind the mixer you can see roots for future bronze pieces drying on the plant trellis

A sound concrete mixer is a must; hand-mixing concrete is just too physical. I love this machine. Behind the mixer you can see roots for future bronze pieces drying on the plant trellis

Fifteen minutes of mixing the dry ingredients.

Fifteen minutes of mixing the dry ingredients.

While I wait for the dry ingredients to mix I paint a bonding agent onto the scratch coat.

While I wait for the dry ingredients to mix I paint a bonding agent onto the scratch coat.

A close up of the white bonding agent after application.

A close up of the white bonding agent after application.

All branches are coated with the bonding agent and drying while I check on the cement mixer.

All branches are coated with the bonding agent and drying while I check on the cement mixer.

When you look closely you can see the fibers I put in the concrete last week. The fiberglass fibers help the new layers of concrete bind to the last coat.

When you look closely you can see the fibers I put in the concrete last week. The fiberglass fibers help the new layers of concrete bind to the last coat.

Just like in baking, you pour just a little wet ingredients in the middle of the dry ingredients.

Just like in baking, you pour just a little wet ingredients in the middle of the dry ingredients.

I clip a cardboard door to the mixer, to keep the dust down.

I clip a cardboard door to the mixer, to keep the dust down.

The mixer kicks up a lot of dust.Even before ppe was a thing, I wore a respirator and a head covering when mixing cincrete. There is nothing like shampooing concrete dust out of your hair.

The mixer kicks up a lot of dust.

Even before ppe was a thing, I wore a respirator and a head covering when mixing cincrete. There is nothing like shampooing concrete dust out of your hair.

Here the mix is starting to stick together and make marble and golf size balls. Ut us about 1/2 way ready.

Here the mix is starting to stick together and make marble and golf size balls. Ut us about 1/2 way ready.

Ready to start applying the concrete to the branches.

Ready to start applying the concrete to the branches.

First, I mix a little concrete with the white bonding agent and make a slurry. I paint the slurry mud into the branches to help the first coat stick. Then I wait for it to get tacky.

First, I mix a little concrete with the white bonding agent and make a slurry. I paint the slurry mud into the branches to help the first coat stick. Then I wait for it to get tacky.

Another detail look. Some of the fibers from the prior coat are still sticking out. That is ok, when I am finished I will take a small torch Abd burn them off.

Another detail look. Some of the fibers from the prior coat are still sticking out. That is ok, when I am finished I will take a small torch Abd burn them off.

My hydrating tent is getting a bit caddy campus.

My hydrating tent is getting a bit caddy campus.

Five more days of hydrating and then I pour the cement for the seat.

Faux bois Wedding gift ❤️❤️#13

Last Thursday while in Coronavirus 19 quarantine/social distancing I poured a top coat for the upper branches. I actually mixed all the ingredients over a year ago and then got caught up in making the pieces for my Hurricane Harvey Heroes exhibition 51.88” -Art of Resilience. The bucket of dry mix sat by the cement mixer untouched.

IMG_7119.jpeg
IMG_7129.jpeg

The piece will hydrate for 5 days. If it dries too quickly the concrete will crack. I (actually we, Curtis helped me) build a cube out of pvc. I covered it in heavy sheets of plastic that I cut and sewed to fit the cube. I then installed two construction zippers to allow me to get in and check the humidity. I put a humidifier in the cube with the bench, the humidifier keeps the concrete very moist.

Today I started to prepare the dry ingredients so that I can mix the concrete tomorrow morning.

I prepared 30 lbs. of dry ingredients, 10 pounds of fly ash and 20 lbs. of white concrete. And then I panicked - is the piece in white concrete or is it in grey? With the fly ash mixed with the concrete and the piece being wet, I can not determine what color it is. Yikes! this is a problem. I decided to mix a second bucket of dry ingredients. Tomorrow I will be ready for anything.

Stitching a Sweat bee and incorporating time and movement

Another day of social distancing and not being able to get in my studio. Today's stitching, I added the first of several sweat bees. In reality, they are only about 1/4 ” long. They have beautiful metallic greens and blues. I am working to show more time and movement in my stitching.

I added a tiny sweat bee - he is moving fast and as a result blurry

I added a tiny sweat bee - he is moving fast and as a result blurry

First I cut some thread of the colors I want the bee to be.

First I cut some thread of the colors I want the bee to be.

Next I wad them up into a cocoon.

Next I wad them up into a cocoon.

Then I untangle them into the shape of the movement of a bee.

Then I untangle them into the shape of the movement of a bee.

Then I stitch them into the shape of the movement.

Then I stitch them into the shape of the movement.

Azalea Trail and wild native bees

This summer it came to my attention that the River oaks Garden Club was having a luncheon with a bee theme. I quickly reached out to their luncheon Chair and she connected me to their environmental chairman. They came to my studio and we talked about the 4,000 wild bees species and how most people only know about honey bees.

Long story short I was invited to talk about the bees at their annual Azalea trail fundraiser. They were Slammed with people. I spoke none stop on Sunday from 11-5.

In addition the environmental chairs decided to work the native bee (the endangered bees) story into their both at their garden show this spring. It is organizations and ladies like these that can save the wild bees.

Adjustments.jpeg
Image courtesy of Janna Webber

Image courtesy of Janna Webber

Falling through the bee looking glass #1

In the past years, blogging about my art practice was something I did every day. It is how I document my work. Then I started focusing on bees. At first, it was bees and the weed killer Glyphosphate.

Adjustments.jpeg
Adjustments.jpeg
Adjustments.jpeg

The above pieces we're done in response to learning that Glyphosphate does not kill bees but impacts their immune system. With compromised immune systems bees subcome to disease. Glyphosphate is also now well known for causing cancer. I then made a five flip lenticular from these three images.

SITE Gallery- Sculpture Month Houston - Building the support system

Finally, I feel like I can make some progress. Step one is to make a structure that I can hang my sculptures from. The gallery owners are trying to preserve the space in its original condition, and ask the artists to deface the silo as little as possible when installing our work. Normally I use acrylic hangers that I designed to hold the pieces. Each bracket takes four anchors. I feel like that is too much destruction to the silo. Instead, I decide to buy some black 14 gauge wire fencing, 20 feet X 36”. The silo funnel has metal bands tack welded to it. The middle metal band is 31” from the wall. I cut the fencing in 31” pieces. I cut one end in a concave shape and the other end convex. The convex end will rest on top of the metal band and the concave end will be supported by two screws in the cinderblock wall. This is 19‘ high, and I feel pretty good that my screw holes will only be minimally defacing the silo.

Close up of support system

Close up of support system

public.jpeg

The moment I got off the scissor lift and looked up at my support system, I realized I had made a big mistake. I should have painted them white. The black stood out too much on the white walls. I could not sleep that night trying to decide if I should repaint them... It was not easy, but I spent the next half day painting the system 19’ in the air white.

I think it was worth it, the support system is much less intrusive.

I think it was worth it, the support system is much less intrusive.

I hung from the support system 8 fishing tackle swivels with 25 lb filament attached to each swivel. Four of the swivels are 36” apart 18” from the wall. At these distances the pieces will not touch each other or the wall. Everything should move independently. These are for the big pieces. The other swivels are for smaller pieces and are spaced randomly. I am guesstimating where I want these. Tomorrow I will start hanging work.

Packing the hanging pieces for transporting to the silos.

Last week I spent everyday packing and boxing the pieces I made this summer. I needed boxes they could hang in. Regular wardrobe boxes are not wide enough, so I made my own wardrobe style boxes to transport the sculpture pieces. I took two 30” X 30” X 30” boxes, stacked them and taped them to make them 78” tall.

Then I wrapped each element of each piece in thin plastic dry cleaning bags and kitchen zip lock bags. I don’t want any thing getting tangled. Each little section is in its own plastic cocoon.

Each small element bagged separately making bouquet of bee cocoons

Each small element bagged separately making bouquet of bee cocoons

Making my own wardrobe style boxes.

Making my own wardrobe style boxes.

My pieces hang from the top of the boxes. I needed something to support the top of the box. Southland hardware yard sticks were the cheapest thing I could find. I think they will work.

My pieces hang from the top of the boxes. I needed something to support the top of the box. Southland hardware yard sticks were the cheapest thing I could find. I think they will work.

My sculpture wardrobe boxes have doors.

My sculpture wardrobe boxes have doors.

The pieces in bags make awesome amnion shadows

The pieces in bags make awesome amnion shadows

7 boxes ready to go.

7 boxes ready to go.

public.jpeg

My new best friend’s name is Scissor Lift- Another day setting up my silo to work.

I am so grateful to not have to deal with that 19’ tall scaffold. It was very difficult to maneuver in the space with the mouth of the funnel hanging in the center of the space. Aztec picked up the awkward scaffold today, and they delivered my new best friend, scissor lift. Getting the scissor lift in my silo was not a simple processes. Electrical conduit hangs below the door frames of the silos between my silo and the delivery door. As a result the delivery man had to drive the scissor lift through 8 other silos to get to mine. It fit in the door of my silo exactly with not a pinch to spare. The scissor lift rubbed the top of the opening.

public.jpeg
public.jpeg
My safety engineer and the most supportive husband anyone could ask for. He is affectionately known as Mr.Safety. 🤗

My safety engineer and the most supportive husband anyone could ask for. He is affectionately known as Mr.Safety. 🤗

The view of my silo workspace from the scissor lift.

The view of my silo workspace from the scissor lift.

public.jpeg
Detail of grid system.

Detail of grid system.

SITE Gallery Houston

Behind and attached to the Silos at Sawyer Yards

The lobby of the SITE Gallery Houston with the mechanicals of the grain silo in place. Just the coolest

The lobby of the SITE Gallery Houston with the mechanicals of the grain silo in place. Just the coolest

public.jpeg
Green marks the spot

Green marks the spot

public.jpeg