Kentfield, California 94904
PG & E (Pacific Gas & Electric Co) installed its controversial smart meter on my house. They said it would give me great detail on my use of electricity. This attracted law suits from the public. So, PG&E stopped connecting the “Smart” part of the meter that would tell me everything — the only part they connected is the dumb meter that tells me how much money I have to pay PG&E.
Smart Meter I (door)
If you open the door you will see this inside:
Smart Meter II (inner presence)
Smart Meter (round thing at top) provided by Pacific Gas and Electric Company. Installed at Kentfield, California.
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:
Then what? I used it in the Head Case. Here’s what that looked like:
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:
Meanwhile I took another cut at the Nara fugitive, so then it looked something like this.
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
I just made a photographic print of my wood sculpture “Owl/Not-Owl .”
It’s printed on premium canvas and it looks like this:
And the original sculpture on its stand looks like this:
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” 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.
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.
Hey, Don’t blink! And you in the middle, Look at the camera!
The things I have to work with.
Exquisite Garden Opens in San Francisco June 28 to September 21st:
An original and site specific garden will be cultivated over a week long period, where non-traditional materials such as rags become flowers, ropes become snakes, and rusty metal is transformed into an altar.
The masks hang tightly together inside the bag. Of course, the bag must be invisible to let you see the faces.
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).
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:
Those above, and a carving of fugitives in the landscape,
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
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).
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” (multimedia) wall-hanging derives from ancient, native American pictographs.
- 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
See Agathe Bennich online works: http://www.tronbykle.com/agathe_gallery.html
“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
I tried the fireplace first, but you can see it’s already pretty crowded.
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.