I started the upper torso.
I always make the shoulders too broad and then have to adjust them. I will do that tomorrow.
Hurricane Harvey - sculpture day 7 “bringing home the bacon”
My work day was short today.
Hurricane Harvey - sculpture day 6 “bringing home the bacon”
Hurricane Harvey - sculpture day 5 “bringing home the bacon”
Today I spent a lot of time cutting off and rewelding. The upper leg/booty was too big. After four hours it now has a trimmer.
I am trying to decide if I need to reinforce the lower half of the body or move on. Once I reinforce the joints it is a lot more difficult to make changes. If I move on without reinforcing the welding joints, the piece could fall apart. That is my dilemma.
Hurricane Harvey - sculpture day 4 “bringing home the bacon”
Connecting the legs and reinforcing them.
Building the hips and connecting the legs
Side view
View from back
I create triangles to give the piece stability and strength.
Left side view with triangles
View from the back
view of the right side
Using scraps to create triangles to strengthen the ankles.
Looking back, I can now see the hips are not right and are exaggerating the movement. I will have the movement exaggerated when the piece is finished, but for the armature, I will have to tone it down.
Hurricane Harvey - sculpture day 2 “brining home the bacon”
Step one - I find or take a photo to use as a reference. Many times I take screen shots from videos I find online. This time I took photos of Griffin and Alex. At the time I was planning on sculpting “The Guy In the Astros Cap”. I had Griffin carry Alex and I took photos as he walked. I can still use the pictures of Griffin walking. Alex is too cute and tiny to stand in for the pig. I will have to wing the pig.
Photo if Griffin’s feet.
Step 2- I start with the armature for the feet, piecing them together from the small leftover scraps of my last sculpture.
Left foot, right foot
I really like the pigeon toed aspect of this photo.
Even though I like work from photos I feel free to change anything I want.
Gust- patina
November 15, 2018
I am working in the spacious new Glassell Foundry. There is abundance of space to work in.
Hat 👍🏼 Patina👍🏼 Torch👍🏼 Welding gloves👍🏼 Paint brushes👍🏼 Respirator👍🏼 Eye protector👍🏼
The patina I am using is a layered hot patina. First I heat the piece with a torch. Then I start laying a heavy dark brown, then a heavy layer of titanium oxide. About 30 minutes in I spilled the titanium patina.
It is really a bummer because once I remix it I can not use it for 24 hours, the chemicals need to bind together. Grrrrrrrrr.😬
November 19,2018
Starting where I left off.
Three days before thanksgiving and I can’t help myself, I want to finish this patina today.
After a heavy layer of titanium ash I ran out of butane. Luckily a second tank was ready to go.
Faux bois Wedding gift ❤️❤️ #12 the 1st layer on the branches.
You can see the rough coat on the underside of the bench. I am ready for the second application of concrete.
I have flipped the bench over and will work from the top to the bottom. You have to work from the top to the bottom because the process is very messy.
Step 1. Protect the bronze birds by covering them with plastic wrap.
Step 2. Paint the lath with a concrete bonding adhesive.
Step. 3 Make a slip from the concrete and the bonding adhesive. Paint the slip onto the piece.
Step.4 Apply concrete by hand.
Mateo. 5 Remain calm, enjoy the process.
It turns out my bonding adhesive is old, as a result my concrete does not want to stick together. I am grateful I am only working on the scratch coat. I can fix anything that falls off when I apply the final coat.
I like this branch growing around the other
Things did not go as planned as I worked on the bench. My bonding adhesive was old and the cement just was not sticking. And marriages do not go as planned. The lesson here is just roll with it. I will get new bonding adhesive next week and the next application will go smoothly. It is not worth getting upset over. The fun part of marriage is having someone go through the rough spots with you, someone who makes the rough spots not so rough, maybe even fun. Look for the good in every situation, it is there. Make your problems work for you.
Hurricane Harvey - sculpture day 1 “bringing home the bacon”
My first thought was to make a sculpture to be exhibited with the drawings of a man rescuing a woman and a baby. I loved how obvious it is in this drawing that they are strangers. He is carrying her but with his body language he could be carrying a sack of potatoes. His energy is focused inward, perhaps he is worried about his own family. She is the same, she is affectionate with the baby but she is not snuggling into her rescuer. There is not a history between the rescuer and the girl.
“The guy in the Astros cap”
After some consideration, I have decided to make the sculpture a livestock piece. I changed my mind because I feel the livestock pieces need to be very large to properly convey the extraordinary feats some people went to in order to save their livestock. I also like the fact that it is unexpected to make the sculpture of a pig rescue. I can always make a sculpture from the other drawing later.
“Bringing home the bacon”
“You Make Me Stronger” - the old maul
“You Make Me Stronger” 12” X 5.75” X 2.25” bronze
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.
Peace pigeon project #17 - Pareidolia
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.
March 3, 2013 - Woman Suffrage Procession -Inez Milholland- title of work update
MArch 3, 2013 - Woman Suffrage Procession -Inez Milholland
10" X 20" X 30" bronze and distressed gold leaf 2014
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.
Roots- Thank you Soul Cycle
These two dead plants were in pots outside of Soul Cycle. The roots were exposed and beautiful. This summer every week I would ask the staff if I could have them for my art. Every week I received the same response, that they would have to get approval from the locations manager to remove the dead plants. They are mine now. 😊 thank you, everyone at Soul Cycle for not getting irritated with my constant persuit of these roots.
My interest in roots has to do with my interest in regenerative agricultural. I will explain in the next roots blog post
Sapling #2
The welding is complete.
What does sound look like?
Using the Schlieren Flow Visualization method of photography, scientists photograph sound vibrations (even with them moving at 761.2 miles per hour.) NPR does a beautiful job of explaining this complicated process that scientists use to see sound. See link below-
https://www.npr.org/2014/04/09/300563606/what-does-sound-look-like
It is amazing and inspiring to see photographs/videos of sound. With this additional visual inspiration and conversations with art critic Laura Wellen and curator Kimberley Davenport, I have decided to create an installation in my new studio.
I have moved my “score” (working title) sculpture to my new studio.
Everything else is in a temporary storage facility
I will miss my dogs 😒
With some luck by the end of the summer my new studio will be filled with a 4D installation of the voice of the violin.
Photos 🙏🏽 title of work? and artist statement ?
photos by Nash Baker
Earlier this week I received the images taken of my sculpture. There is great satisfaction seeing this piece finally photographed. Many many thanks to Nash Baker for taking the time to get the perfect lighting and angles.
I am struggling with the title and the artist statement. This is where I am presently on the Artist statement for the piece. Some possible titles follow. I would appreciate any suggestions
”___________” A three deminsional depiction of the the passage of time through energy, produced by playing contemporary classical music. I was inspired by a long exposure photograph of my cousin, Arkansas Symphony Concert Master Andrew Irvin, that captured multiple images as he played his violin. I was struck by the simple back and forth movements of a bow, composed of horse hair, drawn across strings that create emotionally charged sounds. In this piece, the music radiates off the musician as he plays, as well as off the strings of the violin, sometimes like a painfully slow waltz, and sometimes with the sharpness of a quickstep. Working on the piece during the last weeks of my father’s life I examined each movement of the bow and the wire/sound that comes off the violin. Some warble and then end sharply like a tear running down a cheek. Others gently twist into a whisper that fades into a broken heart, and some linger and then pivot like a murmuration of birds and is set free, each movement triggering a unique emotion. I applied the concept of seeing multiple images, and seeing music as emotional energy in three dimensions. The piece is built on a steel armature covered in plaster, recycled wire cloth, and baling wire.
possible titles
Documents of Time’s passage
Rhythm
Oscillations
“Lost in time”
Sonata
Rhapsody
Movement
Interval
dimensions of time
Intervals in time
Sonatas of time
Scores in Time
score
“Heritage-dust to dust.”
“Heritage-dust to dust.” My dad was not part of the hat generation, he was a cap dad. He did, however, have the traits that are reflected in each of my Heritage pieces and I do see glimpses of him when I look at them. This is one of the two hats I worked on during his last weeks of life. The week after he passed with a large hole in my heart, we poured the bronze. When I broke off the shell I was not really surprised to see the large hole in the heart of the crown.
Last week I completed the metal work on the piece and this week my siblings and I will celebrate his life, as he requested, with a simple bar-b-que in the feed store warehouse. It won’t be your normal wake, with guest dressed in formal black jackets and pants. We will all be in jeans, boots, or tennis shoes and he would like that. My sister and I will decorate the tables with two of the things he loved: tomato plants and footballs. We will drink beer, eat texas bar b que, and share memories and his love. He may not have worn a hat but he did leave a hole in this one.
Installation day - “feminam”
“Feminam” is Latin for feminine. I gave this piece a Latin name because she was purchased by two physicians. Over a year ago I agreed to sell G.G., my female wire cloth sculpture, titled “January 21st, 2017” as she saw it in our 2017 Spring Block Exhibition. I was amazed that G.G. asked me if she could buy the piece because I was already anticipating the problem of where I was going to keep her. G.G. was the first person who came to mind. G.G. loves art, is a very particular collector and any artist would be lucky to have their work in G.G. and Mark’s collection. A year later I was still having studio visits with people that I wanted to see “January 21st, 2017." However, I had said I would sell her so it was time to give her up. I decided to make another one for my studio. I started the second piece and showed her to G.G. and the new piece is really a better fit for G.G’s collection. She has a beautiful run just off center down her middle and she has more whit plaster on the surface. I am really pleased with the new piece. I wanted G.G. to have her pick and it worked out GG. for both of us. When I first met G.G. I automatically liked her, I tried to channel her inner beauty into this new piece, “feminam.”
Diane and Nate of Level Arts were very patient as G.G. and I decided on the perfect height.
They were also extremely patient as we played with the lighting. And I can play with lighting all day, it is so much fun.
Job well done. I could not be more thrilled to work with Nate and Diane of level Arts.
G.G. And me- both happy
I
Score #39 one sculpture, one room filled to the rafters with sculpted sound.
I had a studio visit recently with an art critic. We talked for two hours about all of my work, my long term goals, short term plans and my artist statement for score. Regarding score she suggested I rent a storage unit for all my work except score. Move score to my new studio and fill the studio to the rafters with with the sweet sound of delicious violin music
artist statement - revised.
”Score” is a sculpture of energy, sound and the physical act of playing contemporary classical music, and its primal impact on emotions. I was inspired by a long exposure photograph of my cousin, Arkansas Symphony Concert Master Andrew Irvin, that captured multiple images as he played his violin. I was struck by the simple back and forth movements of a bow, composed of horse hair, drawn across strings that create emotionally charged sounds. In this piece, the music radiates off the musician as he plays, as well as off the strings of the violin, sometimes like a painfully slow waltz, and sometimes with the sharpness of a quickstep. Working on the piece during the last weeks of my father’s life I examined each movement of the bow and the wire/sound that comes off the violin. Some warble and then end sharply like a tear running down a cheek. Others gently twist into a whisper that fades into a broken heart, and some linger and then pivot like a murmuration of birds and is set free, each movement triggering a unique emotion. I applied the concept of seeing multiple images, and seeing music as emotional energy in three dimensions. The piece is built on a steel armature covered in plaster, recycled wire cloth, and baling wire.
.
just a quick phone sketch
“Score” big day of pruning #38
Monday, I had a meeting with the artist, Brian Portman. Brian speaks wire and teaches drawings no and painting at Glassell. I asked him to stop in my work space to look at the piece with fresh and wise eyes. I find his suggestions are dead on. He had no trouble seeing the movement of the hands, and understood my vision of seeing the music. He felt the music that wrapped around the back of the figure and worked its way into the movement of the right arm was burdensome. He felt it looked like he was carrying something on his back. So today it pruned away.
After the pruning.
Side view after the pruning.
Before the pruning.
I might need to do to do some more pruning.