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

Woman I and Woman 1.3D WIP

Photo of MoMA’s Giclee print DeKooning’s 2D (flat flat flat – but not really) painting named Woman I (52nd version on its original canvas).
Alongside is my 3D sculpture WIP, at about the same scale as the original painting, color matching to those in MoMA’s Giclee print.
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Woman I print and sculpture WIP
Woman I print and sculpture WIP

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3/4 view of the sculpture.
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Woman I 3D Three-quarter view (WIP)
Woman I 3D Three-quarter view (WIP)

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Back view (first ever 3D version – even Willem deKooning hasn’t seen this).
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Woman I 3D verso (WIP)
Woman I 3D verso (WIP)

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Cervantes is Dead?

remains of cervantes?
Investigators said on Tuesday that some of the remains of Cervantes are believed to be among the samples. Credit Madrid Regional Government

Why wasn’t I told ?  nyti.ms/1BQfgmN

I thought he was looking so good as Peter O’toole.

don-quixote-on-rocinante: carving-in-fence post by Peter Neibert
don quixote on rocinante: sculpture-in redwood fence post by Peter

 

Don Quixote as Peter O'toole, wood sculpture by Peter Neibert
Don Quixote as Peter O’toole, wood sculpture by Peter

Wood Sculpture ~ Fugitive, Face & Inner Presence

The Nara fugitive’s one-eyed face looks like this now:

Nara Fugitive mask
Nara Fugitive ~ mask, Carved Fir, Acrylic and Pastel

The back of the mask is left open – to fit the torso’s neck opening (not shown here).    But when the head is apart from the body, the empty opening in the back leaves  us feeling incomplete.  So, what to do?

Well, the hollowed-out opening in back is ideally situated to possess the fugitive’s Inner Presence.  So, as the mask rotates the Inner Presence comes into view.

Nara Fugitive Inner Presence (in mask)
Nara Fugitive Inner Presence (in mask)

The Inner Presence sculpture is carved in redwood and detachable from the Nara Fugitive’s fir mask.  So then, of course, the question becomes  what to do with the Inner Presence when it’s detached?

Nara Fugitive Inner Presence, nested in back of mask.
Nara Fugitive Inner Presence, nested in hollow back of mask.

 

Nara Fugitive ~  inner presence
Nara Fugitive ~ inner presence

 

 

 

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

Owl/Not-Owl on Display ~ Wood Sculpture and Photoprints

I just made a photographic print of my wood sculpture “Owl/Not-Owl .”

It’s printed on premium canvas and it looks like this:

Owl/Not-Owl, redwood sculpture with plexiglas
“Owl / Not-owl” hangs upside down in my fireplace: Photo print by Peter Neibert

 

And the original sculpture on its stand looks like this:

"Owl/ Not-owl" sits on its stand, and the stand  sits on my deck
“Owl/ Not-owl” sits on its stand, and the stand sits outside on my deck

 

 

 

 

 

 

 

 

 

Where do you keep your Owl/Not-owl?  see the Owl’s electronic bookmark.

“Owl/Not-owl” is original art by Peter Neibert, Kentfield, Marin County, California.

Direct Carving ~ Faces in the Wood

“Direct Carving” means you don’t know what you’re sculpting — you just start cutting into the wood and let it lead you where it wants to go.  Well, that’s what I’ve done here.

I was just starting out in wood, so I needed some wood.  I went to the Rafael lumber yard and picked out a 6″ x 12″ Douglas Fir beam, 12 feet long (the shortest they have).  Then the yard cut the beam into 30″ pieces to fit inside my jeep, and I took them all home.

Direct Carving - faces emerge from the wood
Direct Carving – faces emerge from the wood

So, what to do with five 30″ pieces of 6″ x 12″ fir?  I didn’t know yet that it was ok to use power tools, like Dremels or grinders, so I stabbed in with German steel hand chisels and a mallett.  Where I could follow the grain of the wood and the knots, I did that

Eventually, the cut wood began to suggest to me shapes like cones and canisters and caverns.  As I continued shaping the shapes and connecting lumps to bumps, more sophisticated forms began to emerge.  Behold: faces, foreheads, mouths, eyes.

And that was my first stab at direct carving.

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).

Trying to like de Kooning ~ Becoming Woman I

two maquettes

Two Maquettes becoming Woman I
Two Maquettes becoming Woman I

Two wooden maquettes from a sculptural series inspired by Willem de Kooning’s painting “Woman I”;  carvings by Peter Neibert 2014.

Check out de Kooning works online at Artsy: https://www.artsy.net/artist/willem-de-kooning

To take an online look at de Kooning’s painting, Woman I, go here.

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