Exterior Box Concept

This is an attempt to put the construction and engineering on the exterior of the piece and the “design” and aesthetics on the interior. I wanted a vehicle that made sense to me, so by putting the reversal into this cube helped me to visualize what the construction could become without being too contrived.

Larger Rhombus Canvas

Rhombus experiments with some stretched canvas and surface treatments.

This shows the vertical alignment on a toned wall
so you are able to see the white-on-white.

here it is in the studio to see scale.
it's approx. 60" tall.

Dimensional Panel Tests

Some thoughts regarding an introduction to an additional illusion with the panels. Here I have a foam core board maquette that could be built with either panel or stretched canvas.

This process can give the added experience of moving around a piece for a new view to the artwork. I have been thinking of how I can address the discussion of making my work more dimensional, or even 3D in some instances. This is a step in that direction. I see this opportunity to make paintings that move into a person's space and allows one to create new compositions based upon your vantage point to the artwork.

Each photo represented here is of the same construct, but from different angles. This gives us a surprisingly different perspective on the viewer's experience. I can even see very traditional painting taking on a different feel with this. The question of why I am doing this is not clear yet. I feel like this step is merely an approach at moving the artwork towards the viewer.

Surrounding Circumstances

evidence of the hand of God in creation, with surrounding circumstances

Recently finding some more writings of Mako I keep getting inspired with the concept of our responsibility to cultivate culture — all the while we are immersed in a world that works against our vision  of eternity.

Makoto Fujimura:

“To me, to paint is to practice the “Presence of God” in the process of creating. Whether I have a market for my work is secondary to the practice of the “art of seeing” that is fundamental to my being. I urge you to do the same: whether your "art" be painting, writing, theatre, dance, music-or being a first responder, or a nurse, or an engineer-develop your “inner eye” and create with faith.”

I am a fan of Mako's position in the art world. He is able to influence our generation of artists who's work has been informed by a Christian world view. With Mako's reputation he is able to navigate both worlds of contemporary art and faith. He has gained the respect of critics, galleries and publishers and he uses that influence to stand for truth.

Creation / Hand of God

why do you search for the living among the dead?

Isaac Asimov considers the source of ideas

Having spent some recent time thinking about the before & after occurrence of an idea in our brain, especially me trying to describe to my 2D design class how to “brain storm” this article popped out at me.
Isaac Asimov wrote a paper in 1959 for a spinoff of MIT called Allied Research Associates that addresses some considerations in regards to how this thought, an idea may be sprouted. This article about creativity and “How do people get new ideas?” has recently been discovered and posted into Technology Review.
http://www.technologyreview.com/view/531911/isaac-asimov-asks-how-do-people-get-new-ideas/

The Unanswered Question

Robert Genn painting from his
flat-bottomed scow, on the
Nicomekl River in British Columbia

This article from Sara Genn, the daughter of Robert Genn, a Canadian landscape painter who I admire not only for his landscapes and abstractions, but his clarity of writing and observation. I get these writings weekly and they really inspire me to continue delving towards the center of what my art is about.

Historically, my intentions have been to let my work speak for itself and for it to retain a mystery. There is now a push for me to begin to define my work in words as well as visuals. My writing is weak, and the course of learning about describing my work must be developed. The thought of presenting questions instead of answers will be an important direction for me to address. A couple of observations and quotes from the article linked above:

In 1976 Leonard Bernstein lectured on art at Harvard University. “A work of art does not answer questions,” he said, “it provokes them.” He called his talk The Unanswered Question, borrowing his title from the 1908 symphony composed by American modernist Charles Ives. 

“Why talk when you can paint?” (Milton Avery) 

Writing to understand why I make art is going to be a large part of my next few years of exploration. I am not sure what original ideas I may have, but one question that is starting to loom larger in my mind is about “ideas” — where do they come from, and why was there nothing in that place in your mind before?

October 2014 Doodle

just playing with some line and concepts that have been rattling around.

A Reason for Rhombus?

 As I concern myself with why I am using this shape as a foundation or building block for these abstractions it continues to keep my interest thinking about this type of “grid” that can grow in various directions. The forms that appear when arranging the different pieces together still give me a sense of fun and surprise. Even though these are organized shapes, the compositions remind me of graphic molecules and natural patterns.

This group of tiles are utilizing the similar mark making and palette from the previous set, but this time starting off with a much thinner roll out of clay caused a different approach to the marks. This time the carving and drawing affected both sides of the tile, so I had to be much more delicate with the application of pressure.

Maquette of "Sanctification"

So, on this project I wanted to convert my drawing into 3D. I made a small sculpture to work out what this might be like as a dimensional concept. This maquette is 6" tall at the back of the chair, and 5" wide at the very bottom of the tree stump.
In this I am continuing the thought of what does it mean when a tree is cut down, yet used for a higher purpose? Thinking of the definition of sanctification as defined in the Dictionary of Biblical Theology:

“The generic meaning of sanctification is "the state of proper functioning." To sanctify someone or something is to set that person or thing apart for the use intended by its designer. A pen is "sanctified" when used to write. Eyeglasses are "sanctified" when used to improve sight. In the theological sense, things are sanctified when they are used for the purpose God intends. A human being is sanctified, therefore, when he or she lives according to God's design and purpose.”

An opportunity may exist here in talking about this concept without making it a “spiritual theme” upfront. This might be a way to talk about stewardship and design from a direction that does not seem overtly didactic.

It seems to me that people, in general, are interested in efficiencies and engineering with a nod to pure design that would allow me to have a dialog that can be essentially from a vantage point that can later lead a conversation back to God.

Studio Practice, Conceptual Framework Ven Diagram

Some testing to see if my wire idea works

So far this fastening option has not been successful. I am trying some various types/gauges of wire to see how will be the best solution to assembling the tiles the way I envisioned this project. Braided wire is not working but solid core 12 & 14 gauge has worked out well. It's fairly stiff and tends to hold its shape well, but when I lift these, and hang them on the wall they are very floppy still. Not the best solution yet.

wall hanging.

Hanging on the wall finally

2nd Round of Ceramics - this time with a "Sanctification" maquette

Sanctification Sculpture

I decided to build a small maquette of my “sanctificaton” idea. This is a 3d version of the drawing I envisioned. It reminded me of a time when I was working in clay doing special effects on a TV project that never got picked up. I spent a lot of time sculpting and doing mold making. Also, with a few simple drawings under my belt — it was a nice opportunity to envision and realize what a dimensional version might do to my thinking of this concept. Maybe this will be a bridge, or maybe a cul-de-sac. It's too soon to tell, but I am thinking of how I will build my next maquette!

2nd round of tiles.
These are thinner too.

Also, another round of rhombus shaped tiles with bas relief carving and drawing. These have a “next generation” feel to them. I little more confident, and possibly a bit more elegant. This time around I will be more familiar with the glazing choices and application too.

These are in the leather hard to bone dry phase of drying. Soon we can candle them, soak them up to full temp for bisque firing.

Ceramic Rhombus Tiles Fresh Out of the Kiln

Fresh out of the kiln.
I will need to spend some time with these

Here's the whole group - 12 tiles total.

I have been experimenting a bit with some drawing on clay - then glazing/firing them to see what effects may be found. I hope to do another set soon. I will be continuing with this group for a while longer. This will compliment the “auto-mono-prints” that I started last week.

These are approx. 1/2" thick, and I will be doing some that are a bit thinner. I like the heft of them, but we will see what happens with my engineering on the hanging mechanism for the back.

There will need to be some experimenting as to the best way to connect these on the back and see what a good way to hang these (or if they will hang at all!) They may end up as coasters or ash trays or something inglorious.

"Auto Mono" Print Tests

My "Auto Mono" prints:

This has been something that has made me curious for a while. So, after making a group of linoleum cuts with some rhombus shaped concepts, this seemed like a good time to try and make a way to print at home without a press.

After a bunch of conceptual drawings of how this could work, and then some searches through my garage for scraps of wood that could be utilized, I made a small "print-set-up" template. The important aspects of this design are the sizes of the wooden base, the cross pieces and their placement to allow a type of "ramp" up to height. Then the top board, which registers with the outer cross boards so it won't shift. By not shifting it allows the direct downward-printing action. I did not expect to have a ton of success with the foam that I found, but the cushioning seemed to be enough to really help the transition of the tire across the printed surface.

This is built to work with an 11x17 dry sheet of paper using an inked linoleum cut. I tried soaking some of the paper, but it seemed to be to fragile, since I wasn't using my best printing paper for these initial tests. The setup worked in one pass, but I also experimented with two passes (by slowly driving the front of the car over forward and backward) without noticing a big difference in the print quality.

1x12 plank, 2x2 redwood scrap, 1x2 fir scrap.
A layer of mat board with acetate for registration.
place linocut and paper, then put another layer of
mat board, then the foam, then the top 1x12
 to fit it all together.

The bottom board allows the tire to be completely
on the top, and then each cross bar allows a 1/2" step up
to the next level. Once the tire is over the highest
part, the weight drops down to print the image.

This printed piece will work in an 11x14" frame.

Contrasting grid and growth rings concept

Graphic dot pattern with organic concept

Graphic dots and growth rings contrast.

Sanctification idea.

Some discussions about the “environmental” overtones with the trees and cut trees that I was working on sparked some conversations about sanctification. In regards to the trees that had been culled and the intended purpose for the tree once it was selected. God selects us to be more than we would be on our own. The tree died to become something more. To serve a higher purpose. I like the idea that man is here to cultivate the earth. To take what has been given to us and manage it, steward it well.

I am for conservation and preservation of our world's natural resources. So much more important to me is about the act of not wasting resources that we already have. More importantly to use our resources in an efficient and thorough way by farming, planting and maximizing the natural resources in a healthy way. I believe this is important for the continuation of what God had in store before the fall. Now as restored beings we have the ability to get back “closer” to God's plan for us.

These drawings are touching on something that I feel is worth exploring by focusing on how a resource is better used by creating an order to manage and maximize the potential. These sketches are somewhat humorous or light-hearted, but possibly the intent is clearer to a viewer. Clearer in that they don't allude to conservation but address the idea of “one thing being turned into another thing” or, sanctification. A concept strengthened by connecting the tree and the intended purpose of the tree and showing the tree's future. Not just a cut off tree with no future and apparently a wasted “life” but a timeline of the life of a tree.

This also will be addressed in my experiments with tree growth rings (more to come in that direction).

Linoleum cut project

My linocut setup at my desk.

This process of a linoleum cut project is in the works too. I will have approximately 9 linocuts to experiment with some color and layering of textures. I am setting up a fun little project of printing these by driving over a rigged up “press” for under the tires of my car.

I have some patterns that are solely based on primary patterns used in my design work, set against a very hand-made aesthetic

making a dot pattern similar to those used in offset printing 

A grouping in no particular order

detail of a few of the patterns. displaying primary patterns
and one that is a bit more organic in nature.

I will do some different combinations of
primary patterns vs. organic patterns