The totally recycled and rebuilt “The News!” sculpture is now finished and ready for exhibiting and purchase. It is now entitled “The Word.” If you look at the pictures, you’ll see why. With the rebuild, the piece took on an altered content from the earlier sculpture, but the general idea is very similar, since the content has always been about the history of written language from earliest pictographs to modern digital symbols. I like the physical form of this new piece better than the older form, as it is simpler and includes the stainless digital symbols. The coloration is also changed as the patina was completely altered from the earlier sculpture. So, I have this new piece to offer to you collectors out there. Come one, come all! P.O.R.
I have been working on several new sculptures lately, as mentioned in my last entry. I completed a couple of them and have another under development, which is entitled “An Open Mind.” It is still in the clay stage, and will be cast into bronze at a later date. I have included a picture here of the piece in process. The book forms you see will be developed in clay, like the head of the woman, and then I will mold the piece to produce waxes for casting into metal. This sculpture was inspired by my own on-going interest in book learning and education and has a twist of humor to it. The head is approximately 3/4 life size. I think “An Open Mind” would make a great piece for a library, educational center, or private home. If anyone is interested in commissioning a bronze edition of this sculpture, please let me know through this web site, and I will work up a quote on the cost.
I mentioned, a while back, that I was reworking the old “The News!” piece. It is finally completed and, as you can see from the pictures, has changed considerably. The new look has come closer to conveying my original intentions with this sculpture. It has a more direct presentation to the content. I am still working on a new title, since the old title doesn’t fit the piece anymore, and I’m not sure it ever did. Titles are important to me, as they go to the heart of content, and show a solid commitment on my part. Sometimes, they come to me before I even start the physical assembly, and sometimes they come slowly, usually when I’m not looking. Look for my work in the field of forensic facial reconstruction in the upcoming January issue of National Geographic. I will have more on that story after this publication.
As October unfolds, and we get closer to All Hollows Eve, I’m reminded of the stories of Ray Bradbury and his brand of introspection. With the harvesting all around me, including the grape crushing I help my friend, Larry Oates with at Sleeping Dog Wines, I sense the winding down of the year, and I find myself pondering life, death and renewal. I’ve been working on some facial reconstruction sculpting of ancient individuals, who very likely built their belief systems around seasonal changes and the planting and harvesting of crops, changes in the cosmos overhead, and, in turn, created visual symbolism that related to the flow of nature and how it effected them. When I study long periods of history, I tend to feel humbled at the scope of natural forces surrounding me and respond accordingly.
Fall is here, and the light outdoors is getting that wonderful low angle to it. Along with the crisp edges and shadows, objects stand out in contrast and appear even more three dimensional. Although it is still warm here in the Columbia Basin area- close to 90 degrees as the high- most of the day is pleasant to be out, which feeds my hiking hobby, and the resulting nature observations fuel my art making. I have several new ideas I am working on in my noggin, and a few are becoming tangible, as well. More on all that to come very soon.
There’s a lot to communicate about the “Twenty Thousand Leagues Under the Sea” (20KLUS) series of illustrations, since it has developed over about 50 years of my life. Verne’s novel was the first book I read all the way through from my grade school library- and that was a really poor translation with half of the content left out! The Disney movie certainly grabbed me visually, and many other versions of the story over the years. When I finally got to read Miller’s translation, with all the original content in place, I could pull all the pieces together into my own visual interpretations. Why black and white? Probably because the novel is a story of the opposition of forces and extremes. I also wanted to give a tip of the hat to the original illustrations, which were wood engravings and printed in B&W.
I guess, being “old school,” I was trained and developed my abilities in two dimensional art forms, along with the 3D stuff. One of the more recent outcomes of a lifetime of drawing, is my illustrations of Verne’s “20,000 Leagues Under the Sea.” I grew up with Jules Verne’s masterwork, and have always been intrigued with his vision as a creator of fantastic adventure fiction based on scientific theory. After reading Walter Miller’s translation, and finding out how inaccurate previous translations have been, I decided to pursue my own set of illustrations. These drawings are, in no way, an attempt to compete with the original engravings by Riou, Neuville, and Hildibrand, but rather represent my personal interpretation of the events put forth by Verne in his novel.
So…natural landscape not only influences my work as an artist, but often become the artwork itself. Sometimes it surfaces through a romanticized version, such as my recent “20,000 Leagues Under the Sea” illustration series, where the sea and the submarine become the landscape. I find the concept of human-made technology inserted into the natural world to be endlessly inspiring because it can be interpreted as either a good marriage of forces, or a bad one, depending on the artist’s and the viewer’s points of view. How far do we engineer our world, and how far do we preserve nature in its raw state? How do we humans balance our needs for survival with those of naturally occurring species?
I was asked, recently, how nature influences my artwork. My observations, over many years, along with my rolling around out in the open landscapes of this country, seems to seep into and then pour out of my subconscious as I make art. Those realities show up in the textures and colors of my sculptured surfaces and even in the way I process materials in both my three dimensional as well as two dimensional art forms. The layering of media, whether graphite or plaster modeling, is not unlike the geological layering of natures landscape forms. I sometimes refer to the figures I create as “vertical landscapes” for this reason. If an observer casts their eyes close up and across the metal surfaces of my sculptures, they take on the look of a landscape; not unlike the canyons and hillsides of the many places I have trekked.
Since Saturday is my birthday and I just finished (except for a few touches) a new piece, I thought it high time I blogged about life and art making again. I don’t have a title for this one yet, mainly because, although it is a finished sculpture in its own right, the idea is for a much larger outdoor installation. Whether I will get the chance to create that big piece through a commission, remains to be seen, but I am certainly happy to propose it to anyone who might be interested. I would like to see this sculpture made at about a 20-25 foot tall size and sited outdoors in a space that allows it room to breathe. Life in general is good. My wife, Ann, has new adventures developing in her work world, as do I, and the on-going struggle to protect the Amon Creek Natural Preserve continues. (Check out the Tapteal Greenway web site for the latest on that.)