Tuesday, November 14, 2017

Time Flies


This piece was commissioned by someone who inherited a grandfather clock from his grandmother. He wanted the clock to run and operate as before, but asked me to change the case in my fashion...

I had only done a few commissions before, so this was a challenge, and it went through many different concepts and materials before it came to its current and final form.  It's called Time Flies, after the small winged creatures flying up through the case and out the top. I carved the wooden bodies, and the wings are made of mica. These photographs show the case without all the interior clockworks -- the pendulum, weights, and chimes. I hope I will get photographs of the clock after it is installed in its owner's home, and the clock is actually working!


Each side has a small door on the top that I covered with a quote stamped into brass foil sheets. This is the left side, with a quote from Albert Einstein: The only reason for time is so that everything doesn't happen at once.

The photographs here of the right and left sides show the clock without the Time Flies coming out the top. Sorry about that! I had just had an accident with the clock face, and I was a bit freaked out.


There are three groupings of the numbers 1 - 12 on each side, made from found objects, old and new building numbers, and stick-on vinyl digits. Here is a high resolution image of the first sequence on the left side.

And here are the next two sequences:



And on to the right side!

The quote on this side is from Bil Keane (the cartoonist who created the Family Circus): Yesterday's the past, tomorrow's the future, but today is a gift. That's why it's called the present.







Sunday, October 22, 2017

Long Haul at Local 64


Five of my Long Haul pieces are on exhibit at Local 64, a co-working space in Montpelier, VT, through November, 2017. Local 64 is located at 43 State Street, Second Floor West. Go in the door for the North Branch Cafe, then up the stairs and turn left. It's open 9-5 weekdays. 



The newest work is Baggage, seen above left and below:


The figures are encased in a vinyl tunnel, so it's hard to photograph, but it's one of my favorite pieces.


Another new piece is Stromatolites for the Next Age:


It's made with buttons, beads, and small impaled plastic figures.


Homage to Margaret (antique glass x-rays, gauze, and bones) has a new, plug-in lighting system and polycarbonate sheet encasing the x-rays for better stability:



Going Down and Brown's Burden are the final two pieces on exhibit:




Friday, October 13, 2017

Juror's Award at Alliance for the Visual Arts


I've just heard that I won the $200 Juror's Award for the Doors and Windows exhibit at the Alliance for the Visual Arts (AVA) in Lebanon, NH, which opened tonight. Hurrah! Here are some images:


Mary Admasian, who was at the opening, sent me the following images. Thank you, Mary!




Friday, September 22, 2017

One to Four at The Front


I was surprised that this was such a big hit at The Front at the last reception on September 1. It will be up through Saturday, September 30 (the gallery is open Fridays 5-8 and Saturdays 11-8), after which a new show will be installed, opening during the Montpelier Art Walk on Friday, October 6, 4-8 PM.


The shelves on the left are made of black leather, with small porcelain figures of animals on them.



Thursday, September 21, 2017

Team Bridges Presenting at UVM


Team Bridges, on which I served as the Arts person, was an interdisciplinary collaboration of eleven professionals from throughout Vermont as well as Boston, Brooklyn, and Pittsburgh. 
 
 
 On September 27, Jay Ancel and I (and we hope Mike Rushman as well) will present our vision for a Capital Corridor linking five towns - Montpelier, Waterbury, Middlesex, Berlin and Barre City. Our design envisions greater public transportation and green infrastructure, more people, and improved quality of life.

The Capital Corridor, a larger natural, economic, political and social system, would be connected via a 20-mile rail line, potentially linking 1.5 million square feet of State Facilities, people and jobs within walking distance of the rail line. The design would reduce reliance on private cars and parking spaces, while expanding access to rivers, new parks, and a bike/pedestrian path along the river with public art strung along its entire length.

The discussion, hosted by the Gund Institute for Environment at UVM and Net Zero Vermont, will explore sustainable urban planning, design, energy and public engagement to advance Montpelier's efforts to go "Net Zero" by 2030, and to forge closer ties between regional stakeholders.

The event is free and open to the public.

Saturday, August 5, 2017

"Chaos" at The Front


The new exhibits at The Front include my piece, The Long Haul: Chaos, which I put into a new case that I made at The Foundry in Lyndonville.



Friday, June 23, 2017

Two New Exhibits at Goddard College


I've set up two new exhibits at Goddard this week. Here's the evite, and then some images of each of the exhibits.


Upstairs is the SOCIAL JUSTICE exhibit, with one wall devoted to each issue area. There is really wonderful work in this show. I hope you'll put it on your itinerary when you make summer plans to be in the Plainfield area on a weekday. The entrance:


The ENVIRONMENT:


RACE:


GENDER:


IMMIGRATION:


The exhibit is up through October 9, 2017, which is a long run. We will certainly schedule some kind of reception during the summer. Stay tuned.

Meanwhile, here's part of my curator's statement:


Social Justice is much on our minds at the moment, with inequities and associated suffering in healthcare, employment, education, and religion, as well as the four categories I've chosen to focus on in this exhibit -- race, gender, immigration, and the environment.

Injustice occurs when one group takes the goodies for itself, and leaves the dregs for others it deems less deserving, less valuable, or even less human. This unwillingness to share resources fairly is at the root of social injustice, whether it is redlining, immigration restrictions, gender discrimination, or environmental degradation that destroys habitat for plants, animals, and impoverished or indigenous humans. Being OK with, denying, or justifying the affliction of others is what allows injustice to occur.


This refusal to acknowledge the needs of others as legitimate and equal to our own is an emotion-based problem, and one that is incredibly difficult to address. Social scientists have demonstrated that verifiable facts do not change people's minds if their perspectives and beliefs are not aligned with that information. In fact, it often makes their beliefs even more intransigent, as they may feel they are under siege, and thus entitled to lash out.


So if we look at injustice as an emotional (rather than an intellectual) problem, we can see the value of art in helping to create change. Because visual art is non-verbal, non-polemical, and is open to a variety of interpretations, it may be able to open people's hearts with an emotional key. In the best case, it may facilitate encountering the other, seeing his or her pain, grieving, and even passing through the door to remorse and a desire to redress wrongs.


I have devoted one wall of the gallery to each of the exhibit's four issue areas, and in my choice of work have tried to avoid propaganda or preaching. I want viewers to encounter these works on their own terms and in their own ways. But I also want to share my perspective about what I chose, by mounting  short texts beneath the label information for each piece.  I hope viewers will spend time with each work and its associated commentary, and bring their own musings, associations, and responses to the experience.

Downstairs, the exhibit, TAKING IT TO THE STREET,  features almost 50 of Terry J. Allen's photographs of demonstrations, marches, and actions in Washington, D.C., New York City, and Vermont. They are interspersed with signs, banners and posters from actions old and new.