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).
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.
“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 Timesinterview, 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.
Sculptures change even as you look at them. Carvings differ from one time to another, under one light source or another, in one media or another — both the image and the original thing itself change.
This web optimized photo of a sculpture I made in wood was inspired by a Nara period theatrical mask.
Here you see it on the web, but the sculptured mask is already different from the photographic image: the wooden carving’s physical image changes with countless shifts in light and shadow. It’s one of three installed in my Head Case.
Head Case ~ Media Container
It holds upright three original sculptures of Japanese theatrical masks.
Gold is their color (more or less). It survives as aging paint to embellish the carvings, and as filtered light passing through translucent yellow panels — one on the front for visitors to look inside, and one on the top to admit light from overhead, sun, moon and, yes, electric lights.
Gold light plays on the 3 masks as they turn and change their images on the 3 reflective surfaces. This head case measures about 20″ on each side of the cube – big enough to rotate three full-size masks on the turntable.
The outside of the case is reclaimed redwood from my old fence. When I need more wood, I just take another board off the fence,
Then, the image I originally had in mind — hasn’t that changed, too?
n.b. If you want to see original Nara period masks and other fine carvings of the period, start with volumes 3 and 4 of Genshoku Nihon no Bijutsu.
“Back to the Future” fashions appeared recently in one of the Sunday magazines. But something was weird, I looked closer.
Yes, the photo editor had stretched the model to be nine feet tall (so tall he cut her feet off the bottom of the picture). Wow. Is this how fashionistas like to see themselves? The photo showed only the front. I wondered what a nine foot tall model looks like from the back. So, I carved one, my front and back photo:
Most sculptors need some sort of rationale to do their job, even if they have to make it up. Here’s mine.
Anthropologists’ dig (a thousand or two thousand years from now) unearths a funerary model from the tomb of a 21st century fashion king or queen.
Aboriginal Burial Commission directs the model be sent back to the 21st century.
And here it is, showing the effects of 1 or 2 millenia in the royal burial tomb. Back from the future, back and all.
Funerary carving is about 32″ tall – I am fresh out of 9 foot redwood logs.
I bought a Douglas Fir beam (6″ x 12″ x 12′) at Rafael Lumber yard in San Rafael. They cut it into pieces to fit inside my Jeep. I took it home to my shed/studio and let it dry for about six weeks, which looked and felt about right for wood sculpture .
Then, I carved an abstract sculpture in wood: Fir Face & Vases, at left, 15″ x 10.5″ x 5.4″ ~ colored with blended oil stains (Old Masters), and tung oil – all rubbed with rags.
Now I’m carving the remainder of the Doug fir beam here in my studio in Kentfield, Marin County.
I collected the 30 volumes of Genshoku Nihon no Bjijtsu — 29 of them when I was a poor student in Tokyo from 1966.
These 11″ by 14″ pages of large color photographs of Japanese cultural treasures (over a hundred in each volume) were stunning when they were first published and have held their full color integrity throughout.
To read the reading, you will need to do so in Japanese.
Over the intervening years I have looked at the pictures often and studied many. Right now I am “into,” as we have learned to say, early Nara Period wood sculpture (about 7th Century AD). It’s time to find them a new keeper.
The books need nearly four linear feet of shelving and justify a custom built book case. I had one built into my house, so that book case stays with me in California.
Last year I tracked down the last volume (actually, number 26) . I have posted the complete 30-volume collection for sale as a single “lot” on e-Bay, including description and statement of condition. If interested, you may see it here.
If the selling process drags on long enough, i will post representative detail of contents on this blog.