Some catching up to do

I can't believe how long it has been since i last posted. I guess a lot of things have been taking priority over the blog. If my blog is part of my art practice then that means that my practice has been suffering as well. Just to catch people up on what I have been doing I will give a brief overview of what I have been up to since my last post.

From August to September 10, Carol and I had a show at Rush Arts in Chelsea that was called "in Progress" The idea behind the show was to constantly be adding to the show until the final closing. We also did a performances every two weeks for the duration of the show with each performance building on the first and final one that was vastly different from the original.

The wall drawing images were based on the performances while the sculpture in the back room originated from some images I had been using in my drawings. I will go into each of these later and will provide pictures as well.

The photo I posted with this blog is one from a show in Brooklyn and Curated by Coren Denise Cooper. It contained drawings that both Carol and I worked on together with our one year old son Dante. I will be posting more about that show and the idea for those drawings in later posts. Trust me, I have a lot of catching up to do, so you can expect pictures and writings to follow.

I'm Your Pusher

This is an edited video of the performance Carol and I did during the opening reception of the Queens International 4 at the Queens Museum. The piece lasted 15 minutes and consisted of me pushing Carol for the duration of the performance.

Our performance work has been dealing with the negotiation of relationship and space and the tensions that accompany sharing close quarters. This particular work has the stronger performer dominating the other by pushing relentlessly and never allowing the smaller performer a chance to recuperate.

I really felt like a jerk while we were doing the performance and I even had a spectator tell me that it should have ended with Carol socking me in the nose. With a comment like that I think the piece must have made an impression and it was confirmed when we had someone come up to us at PS1 a few weeks after the performance and ask we were the ones who did the performance at the Queens Museum and we responded yes. I then added that I my chest was covered with bruises the next day and his response was "good, you deserved it"

Bring Back some of the Old Inspiration

The Obelisk is Finished

After a lot of hard work the sculpture for the Queens Museum is finished. Carol and I are happy with the results and found out what is is like to build and instal a large work while having to take care of a baby at the same time. Dante was with us during the entire installation and required as much if not more attention that what we were putting into the sculpture. So, it was a good thing that we had a little over a week to instal the work because we needed it.
I was very happy I took so much time in the early stages to really plan out exactly how I was going to design and build the structure. There were many drawings done on post-its, napkins and any paper that was handy when I got an idea of how it should be constructed. At the same time the sketches were coming, foam core models were being built while I had free time at work. These models proved to be some of the best ways for me to realize the basic proportions that the obelisk would take. Once the form was down the materials were decided on. 2x4s were finally chosen as the foundation for the structure. One the materials were chosen, the scale models were built to insure the structure would be sound. I was thinking that once the full scale piece was built, I would have to reinforce it with crossbeams but the design turned out to be more sturdy than expected and we were able to keep the sides free from extra lines.
I will post more about the different elements when I have detail photos. Until then I hope you can make it out to The Queens Museum to see the work.

beginning of the instal

Scale Model

My scale model of the obelisk is done. I had to make a couple of them in order to get all of the pieces to fit together right but I am real happy that I took the time to work out the angles at home instead if during the installation. I was able to fine tune the work and will be better able to handle the problems that may occur while constructing the full size one.
In the picture there is the pyramid in the background that is at full scale and will sit on top of the obelisk. The model obelisk is 3.5 ft tall and will be 14 ft tall in full scale. With the pyramid on top the whole structure will be a little over 16 ft tall. The plan is to leave the construction elements visible with two of the sides covered in drywall from the inside so that the wood elements remain visible on the outside. There will be no cross beams for support but will rely in the two solid walls to remain upright. The base will have drywall all around two feet from the bottom and will be filled with a heavy material to keep it from tipping over.

The Big Obelisk is coming to Queens Museum

I have just finished getting all the angles right for the top of my obelisk that will be shown at the queens museum. I still have to work out all of the angles for the obelisk but this pyramid is done. It is the same dimension as the pyramids of the big egyptian ones and will sit on top of the obelisk. This is a pretty stressful project because I know it will be seen by a lot of people and I want it to work out. I am running out of time to work all of the kink out but I know it will get finished. It has to. It really feels good to finish this part of the piece because it was the most complex part for me. I learned a lot or building this or it may be that calculating angles has come back after I thought I forgot how to do basic geometry. Whatever the case I will be building a quarter scale model of the obelisk to make sure I have it right before building the 14 footer. With the pyramid on top the whole sculpture will be about 16 ft tall.

On the note of sculpture, I will have it be known that this is the first piece I have ever made. It is amazing to me how a person like myself who has never considered sculpture an option will be in my first proper NY show with one.

Happy New Year!

Happy New Year! I thought this image was appropriate for the start of 2009. It is another work that is part of the star theme I have been into for a while. It has a large element of randomness in the process in the way the piece was laid out. For example, I placed random 'dots' on the paper with pen and pencil until I liked the placement and groupings that were created with these points. I then let it 'rest' for a couple of days. I knew there was more that I wanted to do with it because it didn't feel finished and when I got back to my studio a couple of days later I decided that I wanted to fill up the page with markers so I started adding five lines from each point. It reminded me of stars and also of the way fireworks start from the center and work their way outward.

I would also like to mention the use of markers as opposed to paint for this work and many other works i have been making in my series. Don't get me wrong I love paint and what I can make with it but I have been falling in love with the way everyday office materials make marks. The pencil is a regular sight on a desk and is such a versatile tool and has been used for so many different things. The ballpoint ben becomes a little more difficult to manipulate but there is a quality to the way it presses on the paper and the way the ink is released that allows for slight variations even with the same amount of pressure being applied to the mark. I also am infatuated with the way markers are absorbed by the paper. The ink doesn't just sit on the surface but becomes part of the paper and eventually the marker dries up but it still creates a beautiful mark.

Its about stars

My most recent piece after getting back into my studio after a 4 month hiatus turned out better than I was expecting. I had been using the star symbol in my work before the baby was born, but not to the extent that I did in my most recent work. The traditional symbol of a star with multiple points is a quite nice shape and with all the many connotations that accompany a it, a start can mean so many things. Thinking of all the places I see stars including the sky. I can not escape them. There are stars in the entertainment industry, in business, in athletics, in the military. They represent states and countries. And even have their place in religion. With all of these associations, stars are one of the most ambiguous and abstract complex shapes (it has a minimum of 10 sides with 5 points and 5 valleys) I can also forego the entire shape of a star and represent it as just a dot. It then becomes something different while still representing a star. When a star becomes a dot, it becomes a point, and as such becomes even more ambiguous. I think I can play with the concept of stars for a while.

Pictures of me with other peoples work

So, I have been hitting a the equivalent of writers block for an artist. Until I start getting some work of my own to show again on this blog, I will be posting pictures of me with artworks in some of the chelsea galleries. This one is by a fellow Iowa artist Dan Attoe and it is part of a group show at Stellan Holm Gallery.
Back to my problem. My art making has been pretty stagnant for the past 3 or 4 months. I have been finding that expressing the problem is part of the solution for me. It forces me to think about why I am not making work. I have been using the excuse of a recent child but now it is time to get back at it. I started December off with a trip to my studio and a new drawing. The studio seemed like a new environment, divorced from what I new it as before the baby was born. I had to reconnect with the place, find where I had put my supplies, search for the tools I wanted to use, and make it feel comfortable again. It was like catching up with good friend you haven't seen in a while. Everything is the same, but there is the events of the absence that create a new niche in the relationship. This is how I felt to get back in the studio.

A New Approach

So I have not been making a lot of work since the arrival of my baby and the beginning of a full time job. At first I just went with the flow and told myself that once I was settled in with the job and the baby, a new schedule would materialize. Well, that hasn't happened and I don't feel like it will until I make it happen and the best way for me to do that is to address the issue in the blog. I am hoping it that someone may come across this and will be able to relate. Or, it may be able to help someone else that is experiencing the same problems.
The problem of not being able to make work for whatever reason is one that plagues many artists. I have been talking to artists who have children and have been trying to get a sense of how others tackle the task of making art and raising a family. the responses are mixed, but the one that remains constant and should be obvious is the task of doing something that keeps ones mind involved in the art. Drawing tend to be the first one that comes to mind because it can be done with anything that makes marks and on any surface that receives those marks. It is the most transportable and possibly the most immediate. But for some reason drawing is not working for me. I have been avoiding it and I am not sure why. The intent of this blog is to determine what is causing me to refuse to make the work I feel needs to be made. I think this blog is becoming a part of my work in that I have been using it as an online journal in very much the same way I write in my sketchbook. So until The work starts to flow again I will document my tribulation.

Obelisks

In January, my wife and I will be working on a project together which will involve building a 16-20 foot obelisk. Right now we are in the planning stages and are making drawings and starting to build models. The models have proven to be a valuable reference when it come to realizing the drawings. for example, The first idea was to have an 8 ft base that narrows to 6ft at the top, right before the pyramid cap. When it was built, it looked more like an old oil derrick and not as much as a obelisk as first imagined.

The peice needed to be more narrow but still have a solid base so it would not topple over. As can be seen in the photos, the solution was to make an obelisk with a 4 ft base and a 3ft top while adding an 8ft base. This larger base keeps the obelisk stable and adds to the dynamics of the piece in general.

Back to Blogging

This baby in the photo is the reason I haven't posted a blog in about two months. My attention has been elsewhere but I am making an effort to get back at it on a regular basis. I am shooting for three times each week. If you want to know about this picture, it is my boy Dante checking out one of Michael Perone's paintings at his recent show at Michael Steinberg's gallery.

I look forward to your comments to my upcoming posts.

The Need to Outline

Making a continuous line around a shape in my work is my way of fixating on that shape while at the same time giving it an energy that radiates from it. 

With this drawing here, I remind myself of those times as a kid when I would throw something in the water and watch the circles grow. By throwing more than one thing at a time, I thought I could control the way that the circles grew. 

While I may have disrupted the waves, they always seemed to continue moving away from the original source. Nothing I would do could change that. 

In the same way my drawings take on a force of their own independent of their maker.  Once released there is little I can do to change the course they will take. 

Artist Trading Cards

While making my drawings, I have been thinking about how the the combination of the different materials I am using work work together for a common goal, a finished drawing, and these drawings then become an entity in themselves.  In my studio are placed as many drawings on the wall as will fit. Upon looking at and contemplating the works together I began to think of the accumulation of the drawings as another piece in and of itself, made up of numerous 'players' or a result of a 'team' of drawings. Each piece being able to stand alone while at the same time contributing to something larger. 

As a sportscard collector I decided to take the idea of a 'team of drawings' to the realm of actual trading cards. I found a company that made baseball cards and decided to have a couple of my drawing made in to cards. They are the same size as baseball cards and even have the glossy finish. 

Since making these cards I have found out that there are events where artists show and trade ATC's (art trading cards) but these are usually  just little artworks that are on the 3.5x2.5 in format. Mine are different in that I have the photos of my artwork printed directly onto a baseball card. 

Skulls, my connection with David Dunlap

The use of skulls has been a recent addition to my work, but is not new to my interests. As a young boy, I was fascinated by the components that living creatures are made of. I loved looking at diagrams of muscle structure, veins and arteries, and of course the skeletal system. The skull in particular was striking in that it is made up of many different bones, but unlike the rest of the skeleton, the bones of the skull combine to form one unit that rely on each other and remain fused together even after all other parts have turned to dust.  

In my teenage years the skull acted as a way to bring out a rebellious side in me and tell authoritative  figures in my life to "stick it". Skulls were scary they belonged to the dead or those soon to be. They represented pirates, criminals and the lawless. Seeing someone with a tattoo of a skull instantly told be that they were a dangerous person. 

It was not until I saw an image of David Dunlap including pirate flags into his art that I started using skulls in my own work. It was a way for me to communicate with the man in a strictly visual way. I started sending images I made of skulls and he in turn would send me new images. It is a fun way to communicate with a limited verbal interaction. 

Instead of trying to verbally interpret what the other person is saying with their imagery, it is done using only visual cues. This has been an interesting form of communication that I hope will continue. 

Island Hoppers

After my post of T.C.'s Chopper, I was reminded by my good friend that while on the ground, T.C. drove a VW Vanagon with a matching paint scheme. 

I will make a prediction and say that the same color format and configuration will show up in a future artwork of mine. (i got a lock)

Fred Eerdekens

This is a work that I installed at a private residence. It is a beautiful example of the work of Fred Eerderkins. As you can see, the work is dependent on the light source in order to complete the piece. But even with out the light casting a shadow and spelling the title, it still functions very nicely.  If you like this work, you can see more of it at the Spencer Brownstone website. 

TC's Chopper

I was thinking about some of the things I thought were cool when I was was kid and Magnum's Ferrari was cool but it never compared to TC's chopper. TC's chopper also blows away Zeds chopper but we all know that "Zed's dead baby, Zed's dead"

I know this doesn't fit with my blog but I just wanted to post it.