Keystones in El Paso
50” x 10’
watercolor monotype
Lawndale Art Center — Symbiosis environmental art activism project announced
Lawndale Art Center a staple on my radar as a possible venue for an environmental art exhibition. The sculpture garden, primed to be relandscaped in a manner that could communicate any number of environmental issues in my head.
The Lawndale Art Center Sculpture garden before the 2019 re-landscape.
I have had a few casual discussions with Stephanie about these ideas in the past, however other opportunities came my way, and frankly, I dropped the ball.
During the first COVID 19 quarantine, Lawndale Art Center reached out to me regarding their sculpture garden. They were interested to know if I would assist them with some weeding in their newly landscaped sculpture garden, I often volunteer there. When I heard the words, “newly landscaped sculpture garden,” my heart fell to the ground. I had blown it, I missed the best art venue opportunity to create a piece that looks at urban landscape as a found object. I was crushed, disappointed and angry at myself. I decided to focus on my Endangered Knowledge: The Soul of Humus, a piece I am creating for Sculpture Month Houston. In turning Lawndale down I sent them a copy of the proposal I made to SMH. A few days later I remember thinking to myself, “well you blew that opportunity, you will never get a show at Lawndale now.” A few weeks after that— they called me back and asked me to meet them at the sculpture garden. Masked I met with Stephanie and Emily and they asked me to do a site-specific environmental piece in the newly relandscaped garden. It was the last thing I expected—A dream come true was not in my mind of possible COVID19 realities. We also discussed their need for some happiness in the garden. The garden does not have any beneficials planted. Sympathetic to their need for some visual happiness I offered to plant a few flowers.
By this time it is unbearable—Houston—July—Hot.
What can you plant in July and have it not fry, if anything? I am not an experienced gardener I am an artist/activist and a citizen environmentalist—but my friend and past President of the Harris County Master Gardeners, artist, and curator is a very knowledgable gardener. A super busy Renassaince man, Will Isbell kindly offered to meet me on a Friday evening at the garden to see if there was anything I could plant that would not die in this July heat. There was not, but we did have a great talk.
We both saw the existing garden in the same way a missed opportunity for an environmental artist. And then it hit me. I suggested that I propose to Lawndale that the two of us do a project that takes the existing new traditional landscaped garden and use it as a found object to create a piece to activate change in Houston’s landscape. Will did not hesitate.
The question was how do I get them on board. They have already spent good money and the garden by any standards is beautifully done. One thing everyone knows about Lawndale, it is an art space for the voices of artists breaking boundaries and unearthing contemporary knowledge, nothing is too daring for Lawndale. They are the space in Houston to open minds. They were encouraging and interested in this new idea and wanted me to continue working on a concept for a solo environmental piece as well the piece with Will.
I am still num with these two opportunities and excited with the potential to instill hope and heal the environment.
Lawndale announced the project Will and I are doing together last week. Below is the proposal for the work. I wrote it in early July, as I read the opening paragraph today, with California on fire, and Houston flooding again I am taken back by how much the world has changed since I wrote it.— and not in a good way.
Lawndale Sculpture Garden Proposal
Cindee Travis Klement and William Isbell
What is to be gained in the year 2020, the year of perfect vision? In our largest cities, a tiny virus is killing our most vulnerable, crippling our strongest economies, forcing our families into food lines, and providing kindling for social reform protests. In the natural world tucked within our largest cities, this same tiny virus has improved the air that we breathe, returned fireflies to our summer nights, and allowed wildlife to inhabit our neighborhoods. The connection between the land, plants, mankind, and wildlife in urban environments has never been more evident.
What is to be gained in the COVID 19 moment of enlightenment: our eyes have opened to the state of our living systems, and we have discovered that unimaginable change is possible. We have seen that we cannot wait for the tests to tell us if we are sick. Without design, we have found an unprecedented moment, we have gained an opportunity to change.
SYMBIOSIS
As visual artists and art activists, we will connect soil health and the health of our city. We will create a living piece of site-specific art activism that will reimagine the urban landscape and answer the question — how do we holistically restore an ecological balance that can coexist in Houston with nature/ wildlife through sculpture and community involvement. We see the Mary E. Bawden Sculpture Garden's terrain with its manicured, status quo landscape as our found object. With ordinary tools, organic matter, with the help of the community, we will sculpt it into the armor that historically protected Houston’s geological epidermis and gave life to its keystone species — the Coastal Prairie ecosystem. The title of this found object sculpture is Symbiosis. Over time Symbiosis we will morph into not only a landscape but also a soundscape that changes kinetically with the seasons.
Lawndale’s Mary E. Bawden Sculpture Garden’s Symbiosis will be a catalyst for change. In addition, it will be functional as a contemporary art exhibition space, a piece of functional activist art as well as a healthy ecosystem/habitat: a sculpture garden that heals and honors the history of the land.
Physical Description of Piece
Once the parameters of the project more are specifically defined we will insert the specific plants, their ecological roll in the
design and define the work.
Environmental Impact
Soil scientists around the globe agree that solutions to global warming, soil erosion, water runoff, drought/flooding, loss of wildlife habitats, and species extinction are rooted in the treatment of our soil — the skin that covers our planet, which includes our residential and small business landscapes.
Restoring the native prairie vegetation increases soil absorption of water and slows floodwaters on land, decreasing water runoff. For every 1% increase per acre of biological organic material, the soil can hold an additional 20,000 gallons of water. Given Houston’s extreme building practices and concrete hardscaping, reimagining the landscapes within Houston's 600 square miles of real estate can significantly impact the region's flooding. In addition, the roots of vegetation in a coastal prairie can extend from eight to fourteen feet deep; these roots sequester and store carbon like an upside-down rainforest, cleaning our air.
Value of Location
Change can happen at lightning speed when innovation is coupled with imitation.
The current state of Lawndale's sculpture garden provides the perfect opportunity to break the mindless conformity that dominates Houston's urban gardens/yards. The sculpture garden has the feel of a perfectly manicured, traditional front yard, making its size and plant selections relatable to the general public.
With the Houston Arboretum transformations, Katy Prairie Conservancy, Buffalo Bayou, and the new Memorial Park renovation, Houstonians have awakened to the importance of native Coastal Prairie landscaping; however, those sites are enormous tracts of land. It isn't easy to visualize those landscapes outside the parks. This permanent and living metamorphosis of Lawndale’s Symbiosis will provide the 2020 vision of transformation by imitation for yards throughout Houston. It will shift mindsets by prompting Houstonians to question Houston’s urban landscaping and imagine a holistic Houston that protects the environment by balancing human, natural and economic systems.
Value for Lawndale Art Center
An art institution that looks at its community holistically to include not just a monoculture of humans but also beneficial plants, animals, and micro-organisms will be groundbreaking. Symbiosis will cultivate a medley of life that historically has defined the place, has impacted its economy and attracted its people. Lawndale’s Symbiosis will leverage this endangered knowledge with a living site-specific art installation that provides the artistic vision that changes hearts and minds. It will connect the history of the land to contemporary art. Using additive and subtractive sculpting techniques and nature the Symbiosis of the Mary E. Bawden sculpture garden will become a living love letter from our past to our future.
Ecological impact of Houston
With 2.3 million people living on a footprint of 600 square miles, close to the Gulf of Mexico, located along the migratory bird pathway, Houston is an urban wildlife sanctuary.
Changing Houston's ecology will profoundly impact our oceans, human life, wildlife, and microbial environmental health. Let’s not miss this unprecedented opportunity and heal the skin of the planet and our people.
Installation Process
The beauty of this piece is to have it be a catalyst for inspiring homeowners and businesses to imitate the change and heal their landscapes too. We will Involve the community to take on an active role in the transformation. Installation of the piece will engage and educate the community in ways to be defined after specifics of the piece are worked out.
Lawndale after one of our early Symbiosis meetings.
Beautiful new fence and Jasmine and crepe Myrtles.
Olive trees, African Iris, Dwarf Yupon Holly, Gardenias, Asian Jasmine, Crepe Myrtles -6 very popular landscape elements across Houston.
Will’s and my found object — Lawndale Art Center, Mary E. Bawden Sculpture Garden
Rumblings - Xylocopa micans
A male southern carpenter bee- This bee was sleeping on my Salvia the morning of July 4th. The male wild bees do not live in nests. When they emerge they fly out looking for females to breed with. When the females return to their nest to sleep the males curl up to an petal.
Xylocopa micans I
Xylocopa micans II
Xylocopa micans II ghost
Image from my video
Rumblings - Bombus Morrisoni - repeat
Bombus Morrisoni II
Bombus Morrisoni II Ghost
I was not happy with the first Bombus Morrisoni so I made more. The first is swimming in violet blooms
Bombus Morrisoni III
Bombus Morrisoni III ghost
Rumblings Monotypes without a printer.
Sometime in 2019 or late 2018 I discovered the USGS photographic library of wild bees. I was overwhelmed at the number of species and their individual beauty. They are jewels of the insect world. These facts combined with the reality that most well educated people believe that there is just one bee species - the honey bee. There are 20,000 species. How a creature who is responsible for our food could be misunderstood to this existent is baffling. Scientist just started realizing the error in their studies last summer. Committing to telling the story of the plight of the most important being on the planet is a worthy story. I have always felt the need to support underdogs.
Below us the artist statement for the project as I incusion it today. Artist statements remain fluid as I work on big projects.
RUMBLINGSA rumbling in the distance is nature's way to alert living creatures to their environment. Rumblings; monumentally draws attention to the 20,000 unknown species of threatened wild solitary bees. The bees that can not bee industrialized. The watercolor ink carefully manipulated on the fifty interconnected monotypes to reflect the synergistic, aqueous effect of; the unexplored bee species superior magnetic attraction of golden dust, the movement of the anonymous Keystone species dedication to pollinate, and their fragility due to the applied chemicals that flood industrial agriculture. With Rumblings, there is knowledge and knowledge is power; it is a resounding call to all for action.
The COVID 19 quarantine in March was a huge buzz kill to this series. These are all monotyoes. I use the plexiglass surface to create my water effect that I then press into the paper. I am very attached to this method as the best way to communicate this work for a few reasons. 1. It is a process I created and as far as I know no one else creates monotyoes with this type of mark making., 2. The watery look suggest the use if pesticides that are impacting their extension and lastly the tiny details that make up the bee is suggestive of pollen dust. I have been creating this pieces in MFAH beautiful Glassell studio school printmaking studio. With COVID that us not an option for me.
Since March, I have stitched bees and tried to be open-minded to another process to complete the series. I finally decided to see if I could hand press a 30” X 44” print in my studio.
Here I am applying the ink to the plexiglass. On the wall is a photo of Bombus Dahlbomii, the largest humble bee in the world at 2” long and endangered if it us not already extinct. The photographs are stunning. The photographs are taken if dead bees. In ny pieces, I try to put movement and energy back into the buzz pollinator.
Here I have just pressed the plexiglass with the watercolor ink bee image onto the wet paper. And surprise surprise surprise.
Bombus Dahlbomii IV
I have made three other attempts to print this monsterous fluffy ginger and not been happy with the results.
Bombus Dahlbomii IV Ghost.
The prior attempt are below. Getting a mono-colored fluffy bee with out muddying the ink was tricky.
Bombus Dahlbomii Day I
Bombus Dahlbomii Day I ghost
Bombus Dahlbomii Day II
Bombus Dahlbomii Day II ghost
Bombus Dahlbomii Day III
Bombus Dahlbomii Day I'll ghost
I am hoping the Bombus Dahlbomii day IV pieces cut the mustard. I am feeling hopeful and extremely excited that I can create monotypes without a press Is this non-verbal size.
The Shadow of the Texas Rangers- artist statement update
As life happens, the lens we see through shifts. The lens I interpret this work through has adapted to current events.
As a result, I am updating my artist statement.
The Shadow of the Texas Rangers - late 1920's, The Texas Rangers in Fabens, Texas (a suburb of El Paso). During prohibition, the Texas Rangers traveled to the Texas/Mexico border, to deter the smuggling of illegally distilled alcohol. While on the border, they boarded in my grandparent's home; they became family friends. My reference photo for these drawings of the Rangers hung in my Grandparent’s home. As a child in the 60’s the photo always intrigued me. I was in awe of the well-heeled, respected law officials confidently posed in front of the rugged mountain and their curiously shaped shadows. I wondered why Granny Gene had a photo of the mythical cowboys and their rifles.
My father did not remember much about the Rangers; ironically, he did remember having a house full of thirsty Texas Rangers and accompanying his father to the edge of the Rio Grande River. His father would leave cash under a rock, the next day a bootlegger from Mexico would wade across the river on a mule, retrieve the compensation and place bottles of booze in the hole under the rock. This is when the term ”mule” surfaced.
The proud history of the Texas Rangers I grew up with has suffered from stories of abuses of power. In the historical photo, the overpowering southwestern sun reveals the dark shadows that tarnish the Rangers’ reputations.
Looking at this image today, through the experiences of 2020, the focus rests heavily on the dark shadows in law enforcement. Unfortunately, the deplorable actions of a few can ruin the reputation of a group. In this drawing, there is a balance of light and dark. It is important to remember history as it was experienced by the people living at the time but it is also important not to turn a blind eye to the dark side of our history. Finding this balance is where we are in 2020. It is time that we hold law enforcement to higher standards and that they find ways to police their own.
There is more good than bad. If you look for it, you will find it. The only reliable way to instill change is to lead by example and to recognize and celebrate those who are doing it right.
Working style philosophy
Range by David Epstein - in my mind is a must-read for any artist, creative writer, inventor, scientist moms or anyone who solves problems.
https://pepperdine-graphic.com/book-review-lessons-for-higher-education-in-david-epsteins-range/
”Everyone needs habits of mind that dance across disciplines.”
- D. Epstein
“Habits of mind that dance across disciplines-“ - D. Epstein
I love that quote; it sums up how I think and supports how I am driven to work. Several times during studio visits with people that are in the art world and that I have tremendous respect for, they advised me that I should focus on one thing, one media to work in, or one subject. It helps in branding. It also allows for intense and thorough investigations in an area. It is a smart way to go. I understand what they are saying. It is a lot easier to market art made out of one media or maybe two different medias. It allows you to be recognized by the work.
If I were 20 years old and created art for financial gain- to eat and pay my rent, I would 100% take the advice. Since I am 63 years old and after years of working long hours (not in a visual field), I now have the luxury of knowing where my next meal is coming. Branding is smart, but it is not what interests me about making art. The creativity, the making of, and the message of are what inspire me. The freedom to be creative and not have to worry about the marketability, durability, or popularity of size, material and color allows me to do work that is important to me, with materials that speak to the issues that keep me up at night or move me. It is a luxury not to have financial pressures. Having this luxury, I feel responsible for using the freedom I am afforded to do work that will help create a better world. It does not mean I can’t have fun with it. I love making and feeling passionate.
I have many interests, and I try to be open to new ideas. I believe creativity comes with exposure to life’s experiences, both good and bad, and life’s failures. I often try to break the rules set out by those who came before me regarding creating, and looking for new ways to find my voice. It comes from the willingness to try new things, ”to grasp further than my reach.” -Browning?
Every new idea I have, I first think if it should be expressed 2D or 3D or both. I have to consider the problems that will arise. I have to look far enough to solve the next problem, but not so far ahead that it is daunting. That is a fine line. Reading Range confirmed my beliefs and uncovered even more justifications for staying focused on my path of diversity. . There are connections in my creative wanderings, they are not as visible as using one media or one subject, but they are there for those that take the time to look and think. Good or bad, this is how I need to create. Maybe someday, but for now, I do not want to shift my mindset. I want to keep expanding my visual and sculptural vocabulary. I want to look for ways to interleave my work, create more mental schemes, broaden my thinking, think outside my experiences.
I am naive enough to hope that one-day, art historians, and or critics will see the connections in my work and maybe be glad I didn’t do one thing. Until then I have to figure out where to keep all this work.
Endangered Knowledge: Soul of Humus #17
I started the lower jaw today. I spent the majority of the day researching the structure of the lower jaw and its movement as the bison chew.
Here is a collection of my reference material.
Bison grab a tuft of grass with their tongue, then they pinch it off by pressing it between their tongue and their front lower teeth. They do not have top front teeth. They then swallow it whole. That is the beginning of a 24-hour digestive process.
I love this image, I took it last January at Roam Ranch right before the roundup. I think this is the one they call Poppy. Poppy is very curious and friendly. She is checking me out as she catches rain drops on her tongue.
You can see the lower jaw through the upper jaw here. It is slightly off to the right of the bison. I want him chewing away and want to exaggerate the movement. I will probably bend it a little more askew this weekend.
Here the chewing lower jaw is more obvious.
View from the rear or top down.
Friday, I am committing to writing the Lawndale proposal- rewriting and rewriting and rewriting.
Endangered Knowledge: The Soul of Humus #14
I am getting close to finishing the head and upper jaw. The next step will be to create the lower jaw, then I will put the head aside and start building up the piece from the hooves.
More work on the cheekbones and connecting the horns to the eyes.
Side view of armature
Bottom side view
Bison's left side view
Back of head looking down
For the full story see Endangered Knowledge: The Soul of Humus #1a
Endangered Knowledge: The Soul of Humus #12
My favorite measuring tool when building the armature is a sewing tape measure.
For the full story see Endangered Knowledge: The Soul of Humus
Endangered Knowledge: The Soul of Humus - #11 head
The head is a lot of detail work. Bending small pieces of steel takes time and strength. It is easy to bend large pieces of steel because I can use leverage to bend it. Small parts are too short To get much lecerage. This is the first time in my life strength is an issue., I have not been doing my regular weight lifting due to COVID 19 quarantine. So I have to think of creative ways to make the shapes I need. It takes longer to figure out.
Examining this work I have decided I need to raise the left horn.
I have only welded the horn in one location. This will make it easier to correctly position the horn once the head is connected to the body. I can find them if I want, or I can cut the one weld and resend them in the correct position.
I moved the horn and added the front of the upper jaw.
I added the back of the upper jaw and two pieces to stabilize the head. The stabilizing pieces run through the center of the head, the length of the face to the back If the skull. I used the angle grinder to separate the front and left sides of the front jaw separating the two stabilizing pieces. This will make it easier to make any adjustments in the head structure when it is finished and attached to the body.
The skin and coat of the finished piece is the most crucial part if this piece. This steel armature is purely structural.
For the full story see Endangered Knowledge: The Soul of Humus
Endangered Knowledge: The Soul of Humus - #10 head
I have cut the steel for two sets of horns, the center of the face, top of the scull and part of the nisee. .
Working on the horns
This bison skull was a Christmas present. From Griffin and Alex my son and daughter in law. They have been unbelievably supportive of my environmental works. They are the best. The skull is proving extremely helpful in figuring out how to build the head armature.
For the Full story see Endangered Knowledge: The Soul of Humus
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.
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.
Tomato cage sculpture material
I ran to Southland hardware to purchase more wire cloth for my installation and spied some tomato cages. Wondering if they could add to my palette of materials I took home a few to play with.
Tomato cages
Squish, squash, twist, turn, fold, pull, cut repeat
Throw on a rip of charged screen for garnish
Play some more.
I ran out of time today but I feel like it might have some potential.
Bombus and the blueberry
This is a continuation of an earlier post that documented my intuitive process to embrace and abstract the bee that was listed on the endangered species list January 11, 2017.
The posting was titled Embracing Bombus Affinis. Here is one more experiment.
In the experimental piece below I focused on the transparency of the wings.Through the wings you can see the bees hairs on the back of his abdomen. You can also see the flora in the background and through his wings. FYI- a favorite of the Rusty Patch bumble bee is blueberries. Blueberries are one of my favorites too. There is always a box of blueberries in our refrigerator. I hate the thought of my blueberries being pollinated in a lab.
Bombus Affinis VI
30” X 44”
I am not sure if showing the transparency is necessary or if it bogs down the energy with too much information.
If you want to help insure our food remains pollinated as nature intended see below-
Limit the use of pesticides and chemical fertilizers whenever possible or avoid them entirely. Pesticides cause lethal and sublethal effects to bees and other pollinators.
https://www.fws.gov/midwest/endangered/insects/rpbb/factsheetrpbb.html
The ghost print
Five eyes
Bees have five eyes. They have three small ocelli eyes on the top of their head, they are simple lenses that discern light intensity. They also have two very large compound eyes that contains about 6,900 facets on the sides of their head. I thought the below monoprint of Bombus Affinis (Rusty Patch) bumblebee did a good job of showing the facets.
Bombus Affinis II compound eye detail.
Bombus Affinis - looking back and comparing
I ran into the print making room to drop off some new paper. I took the opportunity to see how the last 6 compared to each other and how multiple bees might look together. I will do one more experiment and the plan the grouping.
I am really liking these 6 today. I don’t think they are your typical rendering of a bee. Any thoughts? I am glad I took the time to look at these as a group. They are inspiring me to make several different bees from different views in this same technique and showing them together. I am getting some interesting ideas of how to do it.
i will do one more experiment first.
Sewing 🐝 #4 experiment for possible community project.
Sewing 🐝 #4
This piece is a conversation starter. The bee on this cap is the Bombus Affinis or commonly known as the Rusty Patch bumble bee. This bee was listed on the endangered species list in 2017. It is the first U.S. bee to be listed.
Finished piece.
No planing just winging it. It explains why that antenna is so BIG
This fuzzy little body needs some wings.
Detail of wing and legs
I need to delete the giant antennae.
Copy added
Every bee needs some pollen in the air.
After I finished and stood back I was not pleased. It was too busy, too much. Today I took out Impact. It feels better, I will live with it and maybe take out Endangered and the pollen and plant pieces.
Is destitching a word?
Nine things that can help #savethebees
1. Plant a pollinator garden
2. Pull weeds or better yet go native, as many weeds and wild flowers are food for bees.
3. Do not use herbicides to kill weeds. Bees live in the ground and neonicotinoids kill microflora in bee guts, making them less tolerant to bee disease.
4. Find natural ways to combat mosquitos. Many urban beekeepers tell me their hives suffer when city mosquito trucks spray and when their neighbors install mosquito misting systems.
5. Become an urban beekeeper.
6. Buy local honey that is not mixed with corn syrup.
7. Provide a water source.
8. Buy local organic food.
9. Spread the word.