Tuesday, November 28, 2017

Think and Re-Think


I was delighted to be invited to make work for an exhibit in Indiana, and thought it would be a perfect time to use some of the antique 4 x 3.25" glass slides I got in two metal boxes at a yard sale many years ago. I believe these slides must have been the property of a physician who used them for professional lectures on the topics of his specialization. They mostly consisted of x-rays and histological slides. I have used some of the x-rays in several projects, including the piece at left that is an homage to my late friend, Margaret Trautz. It is a box with layers of bones and gauze, through which light shines from below.

There were five slides I found in the metal boxes that were more disturbing than the others, as they contained images not of body parts, but of whole persons -- photographs of naked young men in wheelchairs. They seemed to have some kind of foot deformity. But there was something about the vulnerable bodies photographed frontally (with uncovered genitals, which didn't seem  to be related to the foot problems...) that made me want to do a piece about "wheeled" chairs. But the images were so disrespectful, so insensitive about the human dignity of the subject, so problematic with respect to disability issues, that I have not known whether it was acceptable to use them. And I have still not come to terms with that. Does one need to have a thing one is trying to "say" in using such images, or does the potency, mystery, and transgressivity of the content just hang out there and let all the possibilities and responses interact?

I have been interested in questions of medical ethics (for example, the piece at right, Homage to Henrietta Lacks) and have been doing work for many years using bones, so I plunged in with the idea of Wheeled Chairs.

The first piece is 21 3/8 x 18 1/8 x 14 3/4". It used a child's white wicker chair, and has a pile of bones on the seat, a backbone on the reverse, and a bandage over a "wound" (dye, not blood on the gauze...).


The "wound" was actually a break in the fabric of the chair, stitched with steel wire. Somebody (I don't know who it was) left a box of bones in my studio about a year ago. This vertebral column was among those, but I had to boil and scrape it to get rid of the connective tissue. It is now held together with a piece of steel wire in place of the spinal cord. All the bones in this piece are sealed with a clear sealant that also acts as a glue that keeps them in place. You can turn the piece upside down and nothing moves...



The second piece I made is 22 x 13 3/4 x 17". It uses a modified doll carriage, and contains one of the antique slides I wrote about above, affixed to the top of a wooden box that acts as a sort of light table. A piece of white paper at the bottom of the box reflects light up through the image.






I covered the young man's face and genitals with black tape. I needed to do at least that to respect his body...

OK, so here's the kicker: Now that I have completed two pieces in this series, I realize that neither of them really stands alone successfully. I think they would work if combined with 2-3 other similarly-sized pieces, configured together as an installation, and perhaps I will move in that direction at some point.

But for now, I think it's important to "sell no wine before its time".

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.