Survivor on Telegraph Avenue WIP1601b

Wood Sculpture Survivor Telegraph Ave
Survivor Telegraph Ave Oakland
Survivor on Telegraph Avenue in Oakland holds Fugitive mask with interior consciousness, while swallowing head — Survivor’s tentative selection for the day.

Wood sculpture (48 lbs, 50″ tall), oil stain, flame, acrylic, pastel), digital combine.

Detail of Masks are here

Guardian ~ Sego Pictographs in the Barrier Canyon Style

The Sego Canyon rock paintings are new, perhaps painted only seven hundred years ago.

I’ve photographed them several times in morning and evening light.   This image is my favorite:

Guardian: Sego Canyon, photo by Peter Neibert
Guardian: Sego Canyon, photo by Peter Neibert

Under a clear Utah sky the noontime sun is so strong it washes out all the color ~  sometimes you can’t see anything in the stone at all.

Other times I get enough of the right light and shadow to pull out shape and color.  Red, yellow ochre and black.

These Sego Canyon  figures seem familiar.

 

 

 

 

Their style and shape recall the 5,500 year old Barrier Canyon paintings — just a hundred miles distant.  We don’t know who were the ancient Barrier Canyon peoples who created them.  Each new discoverer saw something different and profound in the oldest images.

Holy Ghost Group, Great Gallery, Barrier Canyon (Horseshoe Canyon) photo by Peter Neibert
Holy Ghost Group, Great Gallery, Barrier Canyon (Horseshoe Canyon) photo by Peter Neibert

 

 

Holy Ghost Central Group detail, photo and PS by Peter Neibert
Holy Ghost Central Group detail, photo and PS by Peter Neibert

 

What Does a Music Album Cover cover?

Album covers seek to convey the mystery and ambiance of the music.  Here, the cables of the Golden Gate Bridge in fog reflect Karen Gottlieb’s harp performance — music of San Francisco Bay Area composers.

Harp Music by Karen Gottlieb, original photo by Peter Neiber
Bay Area Harp Music by Karen Gottlieb, original photo by Peter Neibert

 

 

 

Listen to sample on SoundCloud:  https://soundcloud.com/innovadotmu/15-track-15-5

Harp music album is here:  http://www.innova.mu/albums/karen-gottlieb/music-harp

And the album cover booklet (6 pages) is here:  927_itunes_booklet_harp  The cables in fog backlight each page of the booklet.

Golden Gate Bridge in Fog, original photo by Peter Neibert
Golden Gate Bridge in Fog, original photo by Peter Neibert

Golden Gate Bridge in Fog, original photograph by Peter Neibert.  Digital editing by Philip Blackburn.

 

 

 

Fugitive in the Woodwork ~ wood sculpture photo print

Wood carving mask over woodcolor pallet, photo print on canvas by Peter
Wood carving mask over woodcolor palette, photo print on canvas by Peter

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This one made itself over the course of two years.  First, I carved a life-size mask in fir of a Nara period face drawing.  Here it was:

sculpture inspired by Nara period theatrical mask
Wood Sculpture by Peter, 2013
click on photo to enlarge details

 

 

Then what?  I used it in the Head Case.  Here’s what that looked like:

head case on used barrel ~ 3 wood carvings inspired by Nara period gigaku masks.  Sculptor Peter Neibert. Click on photo to enlarge.
head case on used barrel ~ 3 wood carvings inspired by Nara period gigaku masks. Sculptor Peter Neibert. Click on photo to enlarge.

 

 

 

 

 

 

 

 

 

 

Then I let it sit for a year while I worked on other things.

When painting wood sculpture during this period, I cleaned brushes, rags, knives on the inside of a utility closet door.  If I were a formal painter I would call this panel my wood palette for the time.  Here’s a picture of that:

Woodcolor pallet
Palette of the time

 

Meanwhile I took another cut at the Nara fugitive, so then it looked something like this.

Nara Fugitive mask in rework
Nara Fugitive takes a break from modeling work in Head Shed

And then I took many looks at the two pictures (and countless derivatives) in Photoshop — the result is the image at the top of this post.

The biggest image my printer can make is 13″ wide and maybe as much as 28″ long.   Any bigger, means I have to take it out to a real printer.

 

By Peter Neibert, Kentfield, California, 2014

Faces in the Invisible Bag ~ Wood Sculpture by Peter Neibert

The masks hang tightly together inside the bag.  Of course, the bag must be invisible to let you see the faces.

Faces in the Invisible bag ~ Wood Sculpture by Peter Neibert
Faces in the Invisible bag ~ Wood Sculpture by Peter Neibert 2014

These Japanese theatrical masks hang on a rope, you can turn it with one finger, see all the faces.

If you don’t want to touch them, you can walk around the hanging bag and just look.

If you touch them you may agree that they feel much like you probably expect wood to feel.

Some of the original masks date back to the Nara Period, About 8th Century of the Common Era.

Used much wood oil, acrylic, pastel, rubbing and sanding to make the sculptures  look their age.

If you want to see more of this work, check out my Project on Behance (url to follow).

Open Studio in Marin ~ Wood #Sculptures ~ photographic prints

Fugitive faces from my Head Case are on the loose in my sculpture studio in Kentfield (Marin County California) — carved and colored wooden masks such as:

Fugitive Mask on Mask
Fugitive Mask on Mask ~ wood with pastels and acrylic

 

Fugitive from Nara
Fugitive from Nara – wood with pastels and acrylic

Those above, and a carving of fugitives in the landscape,

fugitives in the landscape ~ wood, pastel, acrylic, flame
fugitives in the landscape ~ wood, pastel, acrylic, flame

are on show in my open studio, the first two weekends in May (3-4 & 10-11).

My Open Studio is also showing installed garden sculptures (one is stone) and (indoor) wall-mounted combines.

Sculpture Studio is at 46 Berens Drive, Kentfield 94904, and is open from 11 a.m. on the first two weekends in May.

If you need a guide to the Marin Open Studios tour, download it here: MOS Tour Guide

Marin Open Studios 2014 — Pick One #Sculpture

Future Back, Redwood on stone base, 38" tall
Future Back, Redwood on stone base, 38″ tall (stands nearly six feet on pedestal)

MOS opens two show rooms at Bon Air Center in Greenbrae from April 22nd — about 250 works by local artists — one is my sculpture, “Future Back.”   It’s redwood, nearly six feet tall (at left).

So, how did I choose to show this piece there?  And what about all my other carvings and constructions?   — this is the first time to open-up my #sculpture studio in Kentfield to MOS —  it makes me feel like James Ensor, surrounded by his studio full of masks, each saying,  “Pick me, Pick ME, PICK ME!”

  • Marin Open Studios (MOS) is an annual, free, self-guided art tour in Marin County that takes place the first two weekends in May.

Most of what you see on the studio tour can be bought;  so, how does the artist choose which to offer for sale and which to keep back?  (Just not ready to let go).

Well, it seems to me you need to offer at least one piece that somebody else might want.  So, take a hard look at the images in the studio — are there any here that somebody else might want ?   Hmm.  An unknown, unknown.

Perhaps, pick one with a story to go with it.  Like “Future Back” (read more).

Sego Canyon: Combine D2

“Sego Canyon, Combine D2” (multimedia) wall-hanging derives from  ancient, native American pictographs.

Acrylic on reclaimed redwood, masks carved in fir, pictographic digital photos printed on canvas; dimensions: 20in w x 30in h x 7in deep; wood, acrylic, canvas, plexiglas
Sego Canyon: Combine D2 (Mixed Media wall-hanging)

Acrylic on reclaimed redwood, masks carved in fir scrap, pictographic digital photos printed on canvas (digital inkjet);

  • Dimensions: 20 inches wide x 30 inches high x 7 inches deep;
  • Material: wood, acrylic, digital photos, canvas, plexiglas (translucent over white wall)

Sego Canyon pictographs are probably about 700 years old.  These paintings on desert stone are loosely (and incorrectly) characterized) as Anasazi.  It is more likely that these were made by unknown tribe(s) after the Anasazi disappearance from the Colorado Plateau (circa 1100 – 1275 c.e.).

Significantly, the style of the Sego panels is clearly influenced by the 5,000 year old pictographs in Barrier Canyon — about 100 miles distant.

Photography by Peter Neibert

WIP: Waiting at the Workshop Door

roughed-in, reclaimed 5' beam
Just roughed-in, reclaimed 5′ beam (8 x 10)

“Do you sense how all the parts of a good picture are involved with each other.  Not just placed side by side?  Art is a creation for the eye and can only be hinted at with words.”    — John Baldessari, 1968

There is no formula. There are no rules. Let the picture lead you where it must go.

—Helen Frankenthaler, New York Times interview, 2003

“Color is not an easy matter.”
— Umberto Eco, 1985.

“Color and texture in painting are ends in themselves. They are the essence of painting, but this essence has always been destroyed by the subject.”
— Kasimir Malevich.

Richard Diebenkorn on “rightness”

“I attempt to make the lines and shapes right and because spatiality is intrinsic to a line-shape continuum, it too must be dealt with — made right….
One’s sense of rightness includes absolutely the whole person and hopefully others in some basic sense. What is important to artistic communication is only this basic part but if the artist doesn’t make his work right he has no idea what he has left out.”
The Art of Richard Diebenkorn p. 87

“Miles Davis bends the notes. He doesn’t play them, he bends them. I bend the paint.”
— Willem de Kooning

“Paintings and sculptures, let us observe, are the last hand-made, personal objects within our culture. Almost everything else is produced industrially, in mass, and through a high division of labor. Few people are fortunate enough to make something that represents themselves, that issues entirely from their hands and mind, and to which they can affix their names.”
The Liberating Quality of Avant-Garde Art Meyer Schapiro

“Pure draughtsmen are philosophers and distillers of quintessentials. Colorist are epic poets.”
–Charles Baudelaire, 1846.

“When I am in a painting, I’m not aware of what I’m doing. It is only after a sort of ‘get acquainted’ period that I see what I have been about. I have no fears about making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.”
— Jackson Pollock, 1949

“Art is art-as-art and everything else is everything else.”
— Ad Reinhardt, 1962

“What you see is what you see.”
— Frank Stella, 1964

Where Do You Keep Your Owl/Not-Owl ?

I tried the fireplace first, but you can see it’s already pretty crowded.

Owl/Not-Owl with Fireplace Friends
Owl/Not-Owl with Fireplace Friends

I bought a long new redwood 4” x 12” beam just to have it around.  By and by, I started carving it for sculpture projects.  Some worked out, some didn’t.  When you have a beam and the project goes sour, well, you still have a beam.

So, I used one of those second chance boards to make this “owl / not owl” piece. 

It’s considered a “self-portrait without a face,” which means it’s made out of old things, parts and materials that are uniquely mine.  So, if you know me, you’d know that piece is mine without having to be told.

Materials:   mixed media carving, mostly redwood with plexiglas
about 24″ tall (as shown); and

When assembled with 8-leg wooden base it stands about 6′ tall.  The slender legs are the adjustable portion of a retired picnic table umbrella.  And, 

When the legs are pulled together, the owl looks like it is sitting atop a large bush.

These parts and materials are left over from my previous projects.

owl-not-owl
owl / not owl – self-portrait without face
redwood sculpture with plexiglas

Skull on the Floor

Stone sculpture of an old skull with a little man inside is an unlikely find in Marin, but here it is:

40 pound alabaster sculpture by peter
little man is inside
click on photo to enlarge view

40 pounds of alabaster, skull sized ~ take care not to kick it in the dark, it will hurt your foot.

Daytime, you can see that it’s colored with wood stain.