I am finding that the more I become involved in creating art, the more I use found, salvaged, and recycled objects and materials as part of it, whether it be ceramics, paper making, print making, collage, or in this case, welding. All of the welding I did at Snow Farm involved sorting through a large pile of scrap steel of various sizes, shapes and weights to find the makings of a sculpture. The HALLOWEEN BUNNY series started with a pair of hand shears which reminded me of a rabbit’s ears and face and were lying next to some small garden tools which reminded me of paws (well actually claws). This creative scavenging is something that I find very enjoyable and am hoping to continue. It’s not really practical for me to set up a home welding studio/shop so I’m currently looking for a local place to work (as Snow Farm is a 5 ½ hour drive away).
I recently completed a 5 day “Introduction to MIG Welding” Workshop with Bill Rhodes at the Snow Farm Crafts School in Williamsburg, MA. My first project, using scrap steel, was a piece entitled THE HALLOWEEN BUNNY (look for the new posting on Friday!). Of course, being me, I then explored the form by making two more similar ones before Bill politely, but firmly, suggested I try doing something else. However, I was very pleased, and somewhat surprised when I was asked to put one of “Bunnies” into the School’s auction of teacher’s and selected student work to raise funds for their youth programs. And I was even more pleased when it sold for $75.00, and now resides in a private collection in Somerville, MA.
In 1982 Paul McCartney and Stevie Wonder recorded “Ebony and Ivory”, a number-one single. Subsequently, Paul McCartney also recorded the song with Michael Jackson. Since I can’t sing and have no musical ability, there are no audible elements to my EBONY AND IVORY, only visual ones. Hand built and raku fired using my own paper clay, EBONY AND IVORY is 7” x 6” x 5”.
DEJECTION, like all the three dimensional pieces in the “Cognitive Emotions” Series relies on the primary contour of the piece to evoke a particular emotion and the glaze pattern and color to explore the role of cognition in that emotion. In DEJECTION the figure is erect but the head has a downcast aspect and a subdued and somber color. Hand built and raku fired using artist made paper clay. 15” x 12” x 11” on an MDF base.
In REMORSE, part of the “Cognitive Emotions” Series, the slumped posture of the figure and inclination of the head project the emotion and the color of the head in relation to the overall color of the figure signifies the importance of cognition in this emotion. Hand built and raku fired using artist made paper clay. 10 ½” x 8” x 7” on an MDF base.
In VIGILANCE, part of the “Cognitive Emotions” Series, the primary contour is intended to convey a sense of alert watchfulness while the colors within the piece indicate that this is a controlled emotion with a strong cognitive element. Hand built and raku fired using artist made paper clay. 10 ½” x 8” x 7” on an MDF base.
To me, skepticism is one of the emotions with the greatest amount of thought involved in it. In SKEPTICISM, part of the “Cognitive Emotions” Series, the cognitive element, represented by the bright gold/copper color of the head and upper part of the figure, is the dominant feature of the piece with the more nuanced “emotional” colors taking a secondary role. In profile the figure is leaning back and away from what is being presented and the head is inclined slightly but skeptically. 16” x 12” x 10 ½” on an MDF base.