pedistal sketches & kiln trouble

 

These are the sketches I've drafted of pedestals for two current pieces. I've sent them off for bids at a couple of places and will contact some other welders. 

The large kiln was loaded with the first two pieces (squashed pots and figurative form) but I fired off the third piece in the smaller kiln yesterday first because I'd be home during the day to turn up the switches. My large kiln has a electronic ramp; nothing like the new digital kilns which gives more control, but at least I don't have to be there to turn it up. Even though it has been triple digit temperatures for days, I candled the kiln over night and set it to ramp up this morning. Maybe that wasn't the best idea. At noon, after a couple hours of work in the studio I noticed the kiln had quietly stopped running. The circuit had tripped at 1040 degrees so I reset it and left to teach a couple of classes. When I returned 5 hours later, it was 100 degrees in the studio and the kiln had just shut off again. It had only gained 50 degrees all that time.  There is obviously something wrong!  I tried resetting the breaker but after 45 minutes, even though it was running, the internal temperature had dropped 50 degrees.  Hopefully it can be fixed soon.

Next piece

This piece will be suspended on the rod like a vagabond's pack.

Last Wednesday was the first meeting with mentor Jann Nunn at her Oakland studio.  Since my work was still "green" and fragile, I wasn't able to transport it. We looked at some artists' work on-line she had pulled together, and discussed issues I am concerned with.  Even though it feels like I am continuing in several directions at once, there are things I feel that are necessary to resolve in order to move forward. So far, I have created one large pile of squashed pots and two figurative pieces. Next I will be pursuing the bound swan. Beneath it all, and an important element I need to address, is the presentation of the work: how can I display the work so the pedestal is seen as integral to the piece?

Yesterday I purchased some clear lucite discs and tubes (to the tune of $96) which I put together as stands for two of last semester orbs.  They really seem to hover now; a technique I may use for future presentation.  For the works in progress, I have done some loose sketches which will be firmed up and given to a metal worker to fabricate some cage like pedestals. I've built the newest piece on a board propped at an angle so the figure appears to be going uphill.  I brought the large mass of squashed pots to Sacramento to be bisque fired yesterday but while trying to load it in the kiln, it came apart in sections (the pots probably shifted during transport) so the form eventually was narrow enough to fire in my kiln. Back it went, saving me the $90 firing fee.  I just hope I can get it back together properly! My first two pieces are loaded in the kiln and are air drying. It can't be rushed because I'll encounter cracking and they'll explode if the thick walls are not dry first. The triple digit temperatures were are having should help move them along although I don't look forward to starting up the kiln!

Also in the past week I squeezed in a trip to Santa Barbara and LA to help my partner with his parents and to go to the Getty to see Heaven, Hell, and Dying Well: Images of Death in the Middle Ages. I can't say that I found the exhibit enlightening. Although I studied a 14th century manuscript for my senior thesis at Yale, I was surprised at how miniscule most of the illuminations were. The most engaging show was on Messerschmidt and his impact on contemporary artists http://www.getty.edu/art/exhibitions/messerschmidt/.  There was a fantastic Tony Cragg sculpture and terrific works by Tony Bevan.


Yesterday I learned that my dear cat that I've had for 17 of his 18 years has stomach cancer.

New piece

I dreamed last night that the piece I built had astro-turf inside its cavity. Perhaps the idea had already been percolating but seeing it in living color in my mind's eye helped push the idea further. Today I added piano wire tendrils capped with golf green studs. Here is the progression. It measures 24" high (without extensions). I'm thinking about an open round metal stand.

 

 Here are some images of the inflatable swan prop tied up. I like the way it bulges around the string and suggests binding and inability to move.  

Adding to the Pile

The pile has been growing and is now complete. It measures 24" x 24" x 20"h and is extremely heavy. After it sets up, I'll try to attach pieces so there are just two separate sections to make it easier to load and fire.

First grouping

One of the many odd figurative pots.

Near completion.

Another view.

First finished pile.

Another view.

There & Here

I thought it would be helpful to post the installation shots from AIB as I move forward into the residency.  I've listened to the crits and am writing the summary.  It seems like I just need to work through the various directions rather than pick one. 

I've wheel thrown and built 7 large pots which will form the bottom layer of a large mound. Maybe I'll throw in a swan, or dare I say duck in the pile up? The mass is too wide for my largest kiln but I decided I wouldn't confine myself and will find a way to have them fired. 

Before & After shots:

Other things I am thinking about: tying up an inflatable, hanging an inflatable swan from a wooden frame on the wall (like from a hunt), reflections of a duck in a creek, the carved folds in an 18th century wooden angel statue, and Lynda Benglis' poured works.

Hit the ground, up and running

It was a horrendous journey back from Boston. Delayed and rescheduled flights causing rushed packing of ceramics, and 15 hours in transit following the residency knocked the wind out of me. I arrived home at 2 am (5 EST) and had to teach that day. I spent the week designing a web site which is now up, and have taken several books out of the UC Davis library. The UPS return shipment of work from AIB arrived Tues. afternoon. Last night I finished unpacking the 6 large boxes.  The last two pieces unwrapped were broken.  It is always a heartbreak, but this time, it felt like cruel punishment. Now I've got to step backward to make repairs. Less work will be sent to the next residency, period. On a positive note, I very much look forward to having Jann Nunn as my next mentor.

Tony Oursler

It is amazing how life draws circles around us.  Two years ago when I was a resident at Anderson Ranch Art Center, a group of us went to the gallery openings in Aspen including Tony Oursler's work at the Baldwin Gallery.  It was a large space displaying many intriguing works with video projections on sculpture.  I hadn't thought about his work again until I traveled to San Francisco to the Paule Anglim Gallery where he had a selection of miniature installations with videos and works on paper. The composite sculptures are mildly disturbing scenes made up of found objects and toys – intricately woven magical worlds, like Joseph Cornell boxes come to life. There are tiny video projections of heads speaking and naked bodies moving, flames leaping with barely audible sound dialogue clips.  They remind me of the Wizard of Oz movie when the wicked witch appears to Dorothy in the crystal ball.  The technology of multiple split screens emerging from a palm sized projector is impressive. http://www.squarecylinder.com/?s=tony+oursler&x=54&y=6

I also very much enjoyed the "Phantoms of Asia" exhibition at the Asian Art Museum, SF.  Works by 31 contemporary Asian artists are displayed alongside the permanent collection.  Many of these works explore invisible forces in the spiritual realm and connect the past with the present, across many cultural divides.