This piece needed it's own custom made pedestal. It is shaped like an L on it's back. I am pleased with the results.
"that stick is not gonna to throw itself"
wire
46" X 44" X 24"
Side view
("sit") is in the background.
shake shake shake- wire III (day 1-2)
Day 1-
The goal is to have 5 wire shaking pieces that make 1 massive sculpture.
Screen shot photo for inspiration and the first two pieces.
Tools and materials ready- nose and 1 ear.
The head.
Day 2-
Still working on the head.
Left front paw- a little pigeon toed.
Left and right paws and legs.
Body parts - the front legs on the right. The head on the left.
It looks like a mix between a bat and 1/2 a dog.
Mage is all ears and front legs.
Coming along but very strange looking.
Stepping back for a moment
That is an ear in motion.
The lower ear.
Uh oh-
awkward
My pliers rack.
It looks better in person. the back half will have to wait until tomorrow.
Seeing how her front half works with the other two pieces.
Just playing around with placement
2 and 1/2 pieces.
Work in progress.
finding my artistic voice
I am taking an advanced art history class. A week ago we read about Black Mountain and Joseph Albers. We then wrote a response paper. This paper gives a good description of a big step in my artistic journey, finding my artistic voice and one of my favorite pieces "heritage".
Detail of "heritage"
bronze
MY BLACK MOUNTAIN
Joseph Albers wanted his students to find their own voice. In order for the students to define their own thoughts he taught them how to be conscious of what they saw. He wanted them to be aware of what influenced their interpretations of what they saw, and experienced and what influenced how they expressed their art.
Three years ago I enrolled in the foundry class at Glassell. The foundry department is very much a community. The same people take the class year after year in order to have access to the foundry facilities. My goal was to learn to cast small pieces in bronze to add to the concrete faux bois furniture I was crafting. In addition to achieving this goal I began my journey to find and define my voice as an artist. This happened in much the same way Black Mountain students learned from Albers. I found my voice by sharing with my classmates from all corners of the world and backgrounds and my instructor my ideas for projects. It was during these discussions that I first recognized how my unique visions were shaped by my life experiences: spending my early years on an isolated cotton farm in windy west Texas, living in a poor Hispanic border town, working in my family’s business as a teenager (I shaped hats), my love for animals especially dogs, my experience raising smart kids, my career in a male dominated field as a commercial real estate broker, my interest in construction remodeling homes and antiques, my work ethic, and my sense of humor. For example one of my first pieces was a burnout of an object. To my eye this was not an object this was an impression of a human spirit. With this object I tell the story of the pain and challenges the harsh west Texas weathers imprints on a soul through tears, rips and holes in a satin lining. I see evidence of daily habits necessary to survive alcoholism, and diabetes through the creases still living in the felt. I see a love between two people committed for life in the tattered remnants of a gross grain ribbon. I see financial hardship that shapes character in the frayed and moth eaten edges of the brim. Many of my classmates saw - a cowboy hat. Through my sculpture “heritage” I see, as Albers wanted his students to see how my unique journey in life could be told through my artistic expression.
The diverse community in my Glassell classes, in the BLOCK XVI group, and the diverse mentorship provided in the BLOCK program, along with the amazing facilities available I believe will help me further define what is unique about my background, how I see the world and how I want to express my thoughts and experiences through art. Seeing how others see and do is why I am in the BLOCK and at Glassell. I think Albers would approve.
Heritage
This the piece I was working on when I decided to start "gust" a series.
finding my artistic voice.
I am taking an advanced art history class. A week ago we read about Black Mountain and Joseph Albers. We then wrote a response paper. This paper gives a good description of a big step in my artistic journey, finding my artistic voice and one of my favorite pieces "heritage".
Detail of "heritage"
bronze
MY BLACK MOUNTAIN
Joseph Albers wanted his students to find their own voice. In order for the students to define their own thoughts he taught them how to be conscious of what they saw. He wanted them to be aware of what influenced their interpretations of what they saw, and experienced and what influenced how they expressed their art.
Three years ago I enrolled in the foundry class at Glassell. The foundry department is very much a community. The same people take the class year after year in order to have access to the foundry facilities. My goal was to learn to cast small pieces in bronze to add to the concrete faux bois furniture I was crafting. In addition to achieving this goal I began my journey to find and define my voice as an artist. This happened in much the same way Black Mountain students learned from Albers. I found my voice by sharing with my classmates from all corners of the world and backgrounds and my instructor my ideas for projects. It was during these discussions that I first recognized how my unique visions were shaped by my life experiences: spending my early years on an isolated cotton farm in windy west Texas, living in a poor Hispanic border town, working in my family’s business as a teenager (I shaped hats), my love for animals especially dogs, my experience raising smart kids with learning differences, my career in a male dominated field as a commercial real estate broker, my interest in construction remodeling homes and antiques, my work ethic, and my sense of humor. For example one of my first pieces was a burnout of an object. To my eye this was not an object this was an impression of a human spirit. With this object I tell the story of the pain and challenges the harsh west Texas weathers imprints on a soul through tears, rips and holes in a satin lining. I see evidence of daily habits necessary to survive alcoholism, and diabetes through the creases still living in the felt. I see a love between two people committed for life in the tattered remnants of a gross grain ribbon. I see financial hardship that shapes character in the frayed and moth eaten edges of the brim. Many of my classmates saw - a cowboy hat. Through my sculpture “heritage” I see, as Albers wanted his students to see how my unique journey in life could be told through my artistic expression.
The diverse community in my Glassell classes, in the BLOCK XVI group, and the diverse mentorship provided in the BLOCK program, along with the amazing facilities available I believe will help me further define what is unique about my background, how I see the world and how I want to express my thoughts and experiences through art. Seeing how others see and do is why I am in the BLOCK and at Glassell. I think Albers would approve.
HERITAGE
4" X 13.5" X 12" bronze 2013
Heritage – ( Robert Fleming Travis)
artist statement
One of my favorite treasures is the Stetson Open Road hat I inherited from my grandfather Bob-pa, Robert Fleming Travis. This well-worn hat quietly mirrors my grandfather’s life and character. Shaped by growing up in the Depression, he knew hard times as he later farmed cotton and raised cattle in the harsh West Texas desert near El Paso.
Bob-pa married Imogene Young while they were still in high school. Two years later during their senior year my father was born. Family lore has it that they never spent a night apart during their 70-year marriage.
As a teen I shaped hats in my father's western wear store, and I began to understand that old hats are reflections of their owners, that they keep a bit of the spirit of the person who wore them. Bob-pa's hat still resonates with his determination, his strong work ethic, and his fidelity. These are the very treasures that I work hard to ensure that my own children will inherit.
Pictures of procrastination- Starting is so intimidating- shake shake shake - wire III
I arrive at my studio at 10:00 and now it is 2:00.
I have procrastinated all morning. I need to start the 3rd component to this piece.
I built the pedestal
I moved jump. While moving him he chilled on the ladder.
I really need to have them climbing on everything.
Jump's new location. Sadly the ceilings are not beautiful. - something to dream of.
Romeo and Sarah came for lunch. Still procrastinating I invited myself to join them.
Romeo is an awesome portrait artist. See him and n Instagram @rip123rose.
And on Facebook see
Romeo clay Robinson
Still procrastinating- Then we looked at Sarah's work.
Sarah showing Romeo her work
Like a blank canvas
Finally - tools out. 3:00
Tools- I usually start sitting on the floor.
I will use this screen shot of kitty for inspiration.
The start
I am not sure why starting is hard. I am glad this is behind me. 5:30
2016 Bank of the Arts National Juried Exhibition - accepted
Accepted- I love that word. Friday I received an email that my piece "shake shake shake I and II- lenticular" was selected. The juror of this show is Dr. Larry Wheeler Director of the NC Museum of Art. This piece was also in the Ft. Worth Regional show @arstpace111 juried by Eric Lee Director of the kimball museum. This time the call for entry was national. It will be on exhibit in the historic city of New Bern, the first colonial capital of North Carolina and a tourist destination. The show will be used as visual imagery for dialogue between literary and visual arts. It is a collaboration with PulitzerNC: The power of words.
I would love for someone to write a poem about my piece.
The exhibit will be at Bank of the Arts
october 14- November 26th
317 middle street
New Bern, NC 28563
my artist statement for the body of work that shake shake shake I and II lenticular is a part of;
Easter of 2015 - grateful to have both kids in town we decided to go to the Buffalo Bayou Dog Park - all of us. My son Griffin took a slow mo video of our elderly Labrador Kitty. Kitty loved the dog park and would retrieve tennis balls from the pond like she was a two-year-old pup. She would consistently drop the ball at your feet and as you would bend over to pick it up shake all the water off her coat right on to all those standing near by. My son’s video inspired my “shake shake shake” body of work.
This body of work expresses energy, movement, and Contagious joy. It includes several drawings, life size wire sculptures and lenticular prints.
"that stick is not gonna throw itself"
I put this picture on Facebook and Instagram requesting title of work suggestions. Kay Powell Curtis' aunt face booked me "that stick is not gonna throw itself." Curtis and I both burst out laughing. She took the words right out of his mouth.
It is a keeper. Now I just have to finish it.
Thank you Kay- 😘 thanks so much for taking the time to look at my post and for sharing your very special quirky Kay verbiage. You made my day.
"That stick is not gonna throw itself"
45" X 36" X 24" wire (detail)
"that stick is not gonna throw itself"
I put this picture on Facebook and Instagram requesting title of work suggestions. Kay Powell Curtis' aunt face booked me "that stick is not gonna throw itself." Curtis and I both burst out laughing. She took the words right out of his mouth.
It is a keeper. Now I just have to finish it.
Thank you Kay- 😘 thanks so much for taking the time to look at my post and for sharing your very special quirky Kay verbiage. You made my day.
"that stick is not gonna throw itself. "
My fortune cookie
This is one fortune I will save
forEVER
forEVER
:)
Accepted-National Juried exhibit - BUILD - juried by Murray Whisnant FAIA @ ciel gallery.
I just received an email with exciting news. My "Craneology- dance until the sunrises" was accepted in BUILD.
This will be my first piece excepted in a national juried show.
"Craneology- dance until the sunrises".
Description of the curatorial theme of the exhibit.
Craneology
My close friend from El Paso sent me a text yesterday suggesting a name for my cranescape lenticular.
Craneology-
the study of cranes. Why didn't I think of that?
Here is the text she sent me. It was a few weeks after I posted the piece on Instagram so she caught me a little off guard.
Gina is so clever.
gracias Gina.
New piece- still working on the title
9/26/2016 - 10/2/2016
I started a new sculpture. This will be an additional piece to my series based on shaking dogs. My fingers are crossed.
Pedestal ✅ photos of similar pose ✅ wire✅ wire cutters✅ music ✅
The beginning
Paw
Double
Starting the body. This will be the back side of the piece. The front of the piece you will see just the dogs head popping out and paws gripping the side of a deck.
Right side view
I Moved the piece from my garage to my studio at Glassell. It got a little banged up in the move. There is a lot of negative space involved in these pieces so it is important to have a clean white background behind whichever side I am working on. I have created a movable partition that I move around it as I work.
I taped two 3 paneled science fair poster boards together to make my clean white back drop.
Left side started
Adding more support
More wire
Front view- at this time he is headless. The most important part of this piece will be the dogs expression.
Left view- the tail is wagging extreme left. I spent an entire day getting this tail perfect. Next week I will take a backside view.
The next step is to start the head and face.
I will start a new post for the head of this piece.
I am still struggling with a name. Curtis suggested "did I win?"
I was thinking "paws up"
Naming the piece is an important task to me. I struggle with the name of each and every piece. And I am struggling with the name of this piece.
If you have a suggestion for a "title of work" please do not hesitate to send me an idea.
New piece in the works- I am still working on the name. It will be part of my "shake shake shake" work.
9/26/2016
I started a new sculpture. I hope it works with my shake shake shake work.
Pedestal ✅ photos of similar pose ✅ wire✅ wire cutters✅ music ✅
Starting dogs left paw .
Paws pulling up on edge of pool.
Right paw gripping edge.
Starting the body
Adding back right leg for support.
A good place to stop for the day.
I Moved the piece from my garage to my studio at Glassell. It got a little banged up in the move. There is a lot of negative space involved in these pieces so it is important to have a clean white background behind whichever side I am working on. I have created a movable partition that I move around it as I work.
.
Yikes! So many problems to fix at this point. (Left view)
His tail is wagging far to his left. (right view)
I worked a full day on legs and torso and I am feeling a lot better about how it is shaping up.
I will address the head in a deprecate post.
Glassell School of Art's BLOCK XVI
The Dean and artist Patrick Palmer and the 9 BLOCK XVI Fellows.
Screen shot from Patrick's Facebook.
MFAH Glassell studio school BLOCK 2016
We have a spacious common area between our studios. Thursday we each installed a piece of art in the common area. We drew for spaces except for me. I offered to take the space over the sink/counter space which is promenintly in front of the entrance. The downside is it is over the sink. I offered to take the space and install a wire pieces. They can not be damaged by the water. It isn't the most beautiful space in the room but I just couldn't bare to walk in and have a big ugly blank wall in front of the entrance.
I cropped the sink out
On the left "tell -tale"
right "dog star - sirius"
Left - Doug Welsh http://www.douglaswelsh.com/artist-statement/
right- Nell Gottlieb
Left -sarah fisher
http://www.sarahfisherart.com/
center - vanessa Nasta
Right - Karen Eisele http://kareneisele.com/
Left- penny Warga
center -Shangyi Hua
right- Boo Kennedy
Art for dogs in Glasstire
Celebrating national dog day
Detail of "fetch IV"
New cranescape
In July I started a new cranescape. As I started two thoughts were colliding in my head. The first thought was to start a new companion piece for my first four crane pieces which all have yellow cranes. The second thought was to create a cranescape with white cranes. There are 3 white cranes working everyday a few blocks from my home.
White construction cranes on Kirby drive.
Below are the notes I made as the piece progressed.
This piece will be 50" X 72". I like my Stonehenge to be really alive so I collage building shapes of Stonehenge to it. I tear all the shapes to help build the energy of the piece and bring life to the paper.
Collaging the paper with more paper before I start drawing. I am using two different colors of white.
Close up of collage
The basic structure of this piece is the same as my first four. A large mass of buildings on the left, three structures in the distance top right, with a few structures below.
Starting with chunk charcoal
Water and ink
Starting to add color
Adding some atmosphere
The paper is dripping wet so I will let it dry out for awhile. I have little patience for waiting. 😕
I am very messy. I really need a table and a lot of plastic.
It needs depth-
I am not happy with the direction this has gone. I want to take it back to just black ink and charcoal.
Adding more charcoal chunk and then more gesso, more black ink, more charcoal powder and more gesso.
I misplaced a photo between the last photo and the next. Sorry for the jump.
Then I saw it right there on my Stonehenge paper - the construction site as in my first drawings but the cranes were white and barely visible as when day breaks.
Cranes at first light
50" X 72"
ink, gesso, charcoal and collage.
This will make a great lenticular with one of the other pieces.
New studio - moving in
Clean uncluttered space
perfect space for creativity.
Monumental lenticular
This piece is so big I could not unwrap it at home. I picked it up from the framer weeks ago and have been waiting to unwrap it.
40" X 54 1/4" without the frame.
It is the first thing I took to my new studio.