Archive for the ‘metal sculpture blog’ Category

Minimalism

Friday, April 23rd, 2010

It snowed last night.  The cold creeping, insipid in the dark, through the quilts and the tangled bones of memory reawakened.  We gnawed on the marrow of old wounds.  Shivering.    

We don’t have quilts.

Or memories that we share. 

Or enough silverware anymore.

In the cold and toxic dark, our words ripped through each other like angry animals desperate for sustenance.  

I love you.  Art matters. 

Where the fuck did all the forks go?

I am thinking about minimalism.  Stripped bare.  Bones, invisible in the dark. 

Letting go.  Holding on.

New Work

Monday, April 19th, 2010

The incorporation of organic media into the work has opened some new doors in my metal sculpture.  These are some of the pieces I have been talking about in my last few posts.  To see the difference between these works and previous works, visit my web site.

Sedona

Tuesday, April 13th, 2010

We ran away this weekend.  Fast, hard and with the inevitable collisions.  Against red rock and grey stones and the light, fresh green of new leaves, we walked the river, picked our way through boulders and logs, and lava shaped round and soft by a river ages old. 

We talked.  We fought.  We made love and held hands.  We were intimate — away from the deep pulls, the running pressure of our turbulent lives — sane and real. 

I am always surprised that passion and intimacy are so linked though perhaps I shouldn’t be. Still, when I think of it, I imagine intimacy as a kind of quiet, a stillness in time.  The latin root of passion is: suffering.  The roots of intimacy are: put or pressed into (with a sense, from a slightly different root, of inmost).

Suffering, pressed into, inmost.  Suffering the beauty of color.  Suffering the weight of love.  Pressed into a place, a time, a history, the inmost, tenderest parts.  The smallness of us.  The hugeness of us.  The rolling, sliding, rushing, calm, mysteriousness of it all.  And is there a point?

This was what we pondered in the abstract and in the deeply personal.  We wrestled philosophically and emotionally with all the tools at our disposal until finally we were so spent there was nothing left to do but play cards, drink wine and smile at each other.   

I have spent most of the last 30 years trying to find a point.  The art has been about going far enough in to find something that somehow makes sense, resolves the questions, formulates a philosphy that answers not only why, but how to live.  And the funny thing is, right now, I’m pondering the point of that. 

Its so easy to get trapped by a doctrine, stuck in a belief, encapusalted in conviction.  Now, I am finding that the convictions and beliefs, the constructs of safety and order I have created are only boats, frail ones at that, down a wild river.  They are the leaf, the twig, and the plastic bottle floating with the current until the inevitable log dam or waterfall catches them, crushes them, or rips them apart. 

It seems that inevitably, I find myself either stuck or in the water.  Do I try to catch another leaf, another twig?  Or, in this moment, wet and shivering and gasping for air, am I a part of the mystery and force of this river.  Am I then, outside the constructs of safety and order, simply finding a way to be.

New Directions

Monday, April 5th, 2010

I’ve been missing for a while.  Pulled in different directions and, truth be told, burnt out.  The work felt redundant, tired, and well, like work.  So I took a break.  4 months later, I am back in my studio full time.  And its better.  Somehow, the work is going deeper.

In a nutshell, I think that if art is like meditation (and I am assuming it is though I don’t meditate) then the first thing we do as artists is learn how to clear the clutter from our hearts and minds.  Once the clutter is clear, we can focus, hone in, distill the essence of a particular experience and render it with conviction and precision.  That’s where I was.  I didn’t know how to go farther so I thought I had to switch media again, start from scratch and come at the ever present questions from a new direction.   

Since  my break,  it feels different.  Its as if the continued meditation, process, what have you, has progressed from clarity into mystery.  A door has opened out of myself and the universe is waiting.

ART = What?

Sunday, November 29th, 2009

It is almost 3 AM. Snow was forecast, but instead, a sloppy rain, the hint of winter coming.

Slowly.

I spent the holiday in California. On a beach, by a pool, in the arms of my love. The first such holiday without my children, who are becoming adults and making their own decisions. The first without a turkey, the cranberry/orange relish I make with Grand Mariner. I spent it dancing to bad 80′s music, laughing, thinking little. Reading a great deal. I have been awake for 23 hours (mostly) between planes and airports, rushing deadlines and the wayward acts of a child I hope will soon become a man. I am avoiding ART. I am creating something new. I am redefining, for myself and those who know me, what it means to be an artist. A woman in love. A mother. A member of the world.

Art (dictionary definition): 1. the production or expression of what is beautiful, appealing, or of more than ordinary significance.

What does this mean? I was looking for the etymological significance of the word. Words are usually pretty tricky. I didn’t find anything. Latin. Ars. Skill, Art. Not much help as I focus on my current creation of, of all things, a shopping center instead of a sculpture, painting, or even a blog.

Turnbull, about Fitzgerald, said something about a life being a work of art. Implying (maybe even stating) that Fitzgerald’s life was somehow more relevant, more profound, than his literature and I am thinking tonight about my last post, Dead or Alive, about living and breath and above all, personal responsibility, non-situational ethics, the pain involved with doing nothing and the pain involved with doing too much. I am thinking about pain, about happiness, about the irrevocable, brutal intertwining of both and how I am never content. I am thinking about what is new. Can we truly reject the pursuit of power, or the pious ablution of that pursuit through an homage to fear?

Another definition. I love this.

Human: Originally spelled Humane. Humane has been restricted in its use since 1700 and takes into account only the nobler aspects of man. Whereas Human, in its current and original forms, speaks to the whole spectrum from weak and pathetic to benevolence, compassion, and refinement. Don’t you love it? Keep the word, restrict the meaning.

As artists, it is our job to be “fully human.” Fully alive. Suffering. Wise. Creative. Flaky. Insightful. Substance Users. Substance Abusers. Aloof. Leftist. Against God. Talking to God (s) and/or muses. Chroniclers. Mystics. Psychics. Insane. Sexual. Deviant. Passionate. Intolerable. Good god, what we are tasked with! And god help us if we truly take it into the world. Make the world our canvas, our raw metal on the ground — bringing order from chaos, breath into a day, creating something new (a shopping center, a baby, a garden, what have you?) with the palette at our finger tips and the possibilities in our hearts. This would be better written in the morning. Tonight, in the dark, with sloppy rain falling almost wetly in my desert, it seems that Dionysus will have his way.

ART gets sacrificed, at least tonight, for LIFE.

Dead or alive

Tuesday, August 18th, 2009

I am thinking tonight about Charles Bukowski, Janice Joplin, freedom. Freedom to write, to sing, to walk away. Bukowski said, “An intellectual is a man who says a simple thing in a difficult way. An artist is a man who says a difficult thing in a simple way.” A friend said recently that art exists on three levels. The first is when you’re learning your media, your techniques, your tools. The second is when you have bonded with your media and are focused on design, composition, etc. Most art is at these two levels. But basically, these levels are like dead bodies. You can dissect them, examine and classify them, use them as examples. You can even rearrange the parts to create something new because it doesn’t matter. They’re dead.

The third level is when the work comes alive. It breathes. Then none of it matters. It could be severely disabled, or radically beautiful, or unbelievably intelligent and its all the same. It is what it is. It is alive. At this stage, technique, composition, everything goes out the window because, finally, all these things are irrelevant.

This is a great way to look at it– a complicated thing said in a simple way. Either its dead or its breathing. Which of course throws a great deal of my ranting out the window. Dead or alive. Pretty simple.

But here’s the thing. In this world of sterile, condescending museums, decorators and fabric swatches, the inevitable exclamation of “Oh, these are beautiful. I love these. They’re my colors exactly,” and intellectuals who wouldn’t know a new idea if it smacked them across the nose, does it matter? My kids love Zombies. Even the thought of them gives me nightmares. Don’t you have to be alive to recognize life?

Years ago, some friends and I would wander up Canyon Road in Santa Fe. We would get to the top and drink several margaritas so we could be sober enough to walk back down. We talked about creating Baa (Bad Art Association). We would have little stickers of black sheep and every time we saw a work that was terrible, or an environment that killed good art, we would tag it. No explanation. No justification. Just Baa. Like sheep. But then, finally, we didn’t have the guts. We decided it wouldn’t be fair to all the artists who were trying their best. We wouldn’t want to undermine their creativity.

Then, Friday this week, at an opening of particularly good work, I talked with a gallery owner/artist about the show, the business, about work that breathes. We talked about the economy and its affect on the business, and how all the hangers on (artists and galleries), all the ones who jumped on the band wagon, are going to fall by the wayside and only what is good will survive. He talked about February this year and how he never wants to get that close to the edge again. Said where he came from (Cuba, I think) every day was February, 2009 and if you weren’t good, “I mean really good,” you didn’t make it.

OK. Bukowski. Bobby McGee. Breathe.

Time….

Tuesday, July 28th, 2009

Time gets away from me and as it slips, so do I. A running battle between will and the inevitable but my will seems to slip as fast as the hours. It could be enough sometimes (I think) just to tend my gardens. But that, like most of what I wish for, is fancy, not tethered in earth, not something which can be grown, harvested, consumed.

Other things:
The full cover and 4 page spread in Sunshine Artist Magazine was awesome but I keep forgetting to show it to people or order more copies.

Direct Metal Sculpture (for the persons out there seeking definition) is when one works to manipulate metal into sculptural form without benifit of casting. Fabriction, forging, and assemblage all qualify.

There is little more satisfying than harvesting your own vegetables.

A plasma cutter and a pipe can wreak havok on the blessings of a metal brake.

Everyone says how much they love the color of my patinas. Everyone also says they would like to see more color.

I am ready, again, to do something new.

I wish I could go to Africa and talk to the rape victims.

I would be afraid of the soldiers.

I am often afraid.

What is it that people are looking for when they google “Sculpture Blog?”

At what age to children really become adults? And how does one manage to recognize it and react appropriately when it happens?

Ah, for the cool of the woods, a really good book, enough time to do nothing…..

To be self-contained