Epiphany of the West (27″ x 31″) Collage.
hanging against a white wall, for irregular edge definition
the best overall light balance- photographing is challenged by the glossy reflective images
The book sale at the downtown SLC library is what sparked this. Two identical Remington books with oversize fold-out prints and dust jackets of “A Dash for the Timber”, plus a 1960’s era book on Remington with a small bland print of the same, and a fat coffee-table book of Impressionism.
Romanticism was the European stylistic period of painting prior to and somewhat contemporary to Impressionism; the middle east and India were often the theme of mythic manifest destiny of proto-industrialization serving the same appetite as the American West across the pond. Nature as sublime and overwhelmingly destructive, ruined civilizations, inescapable human cataclysms (war, slavery, revolution), immersions in lust, and inescapable death were also thematic of Romanticism.
The modern Anthopocene, or Pryocene; an era of collapse and consequences e.g. the Sixth Mass Extinction due to direct human pressure on local ecosystems coupled with a world wide collapse of the environment via human forced global warming. Portraying the inevitable future of now via Remington’s fantasy images of a West that never was, running roughshod over a landcsape created from images that titillated European culture with a proto-industrial remembrance; this is what sparked at the library sale: an Epiphany for an image of Epiphany (sacred manifestation) to Epiphanize a complex of art historical memes and ‘isms that grappled with industrialism v nature, culture v the individual, the individual v death, the present v inevitable. Shifting this perspective from the sentimental view of a past era, to a contemporary future of collapse already written that cannot be undone is the aesthetic driver for the recontextual use the of art of Romanticism, coupled with the gentle and genteel escapism of Impressionism from the reality of 19th Century industrialization, married with the jingoistic American West of Remington.
The new clay oven, powered by a small resurrected ceramic space heater/blower donated by E’s cold feet at the office.
I built a new oven for plastecine clay. I have hundreds of pounds of medium red (mixed with some hard red) that needs to be warm to be pliable, then cools and firms up. Warming it up with hand friction was how I worked the clay for years, then a friend in engineering gave me a unit he had thrown together to melt hard clay that I used ever since to warm my medium clay (shown at the end of the post). I often forgo using the old problematic heater, and my hands can’t take the abuse of creating friction to warm the clay, so I needed to get creative with a custom design. This oven is a great improvement over my old unit, as it will evenly heat the clay and hold it at a workable temperature, and with a 24 x 24 inch shelf I can load in a lot of clay.
The drawer gets loaded up with clay and slid closed, the heater sits below out of the way of the drawer. The drawer has an underside gap on each end, so the blower will circulate the air back out the front and not overheat.
The steel drawer slides on the narrow wooden rails, and rests on the side rails. The clay will be heavy, so the rails extend out beyond the box and over the footing for the heater. The rest of the wooden structure is inside the box, with feet and rails outside the bottom of the box.
The foam wall is held in place by a welded steel frame. I have since skinned the expanded steel in a finer mesh of aluminum, and added a a foam bumper to the rear to keep clay from rolling off the back when pulling the drawer out.
The new and old clay oven. The old oven was thrown together by an engineering student at the U to melt hard clay for building an aerodynamic bicycle shell- he gave me his clay and the box back in 2000. I added the wood frame around it and a “window” to see if the heat lamp was on or off.
This has warmed up hundreds and hundreds of lbs of clay, and helped warm students’ clay for my figure sculpture classes up at the U.
The heat lamp ensures that the clay is either cold or molten, sometimes both; the top of the clay goes to an untouchable blistering sweat while the bottom of the same piece is still hard and cold. This meant a lot of babysitting the clay, and occasional fully liquified trays of clay.
Weld and Chase complete.
The Ibis is now ready for the watergate. I thought I had a solution in the works with a professional watergate manufacturer wanting to make the gate aspect, but it looks like it will be up to me. That idea cost me a month waiting for a bid, but luckily this project isn’t due ’til April.
Thinking about how nice it will be to have a watergate body one day.
Legs can’t really think for themselves, or contemplate the future.
Broze Ibis & Proto-Ibis
The Watergate Scandal: A local manufacturer specializing in water gates said they loved the idea and would be able to create the watergate cheaply out of spare bits since it won’t have to hold water. They were surprised when I asked for a bid, as they just wanted to get started. A month later their bid: $3,400 and asking for a go-ahead to get started on their 2.5 month process. Nutz. Next week begins a return to plan “A” of buying a brand name gate for $860 and adding some DangerHart mods.
Broad Canyon Fire. 24″x48″ Acrylic
This image is way off, yet it links to facebook with all the colors correct and it is correct in the blog upload library. All other versions I’ve brought into the library are similarly off when selected for display. For one, the sun should be glowing crimson; and everything else you can guess is way off from there. Second- blurry / vaseline smeared. Hardly worth putting it up.