SI09

I took a little road trip down to Chatfield for the Standard Issue Iron Pour, brain child of Karl Unnasch and perpetrated each year (this was the third) by a host of various and sundry characters. After the pour was over, they like to let down their hair a bit... below is a shot of some of the after-hour festivities.

Progress

To say that raising a child is time consuming is understating the matter. Progress is still being made in the studio, however. In fact, I have two pieces underway at the moment, unusual for me. The vast majority of the time I begin and complete a single sculpture before starting another one. But I was carried along a wave of energy after getting the basic framework for the one finished and so I moved on to the next, smaller piece right away. Below is the larger of the two.

When talking about starting a piece, painters often complain about the difficulty of making a mark on a clean, white canvas. As soon as you begin, the multitude of options available begin to diminish. Each mark limits the next, and these limitations build on each other as the work progresses. It can be incredibly difficult to make those first few marks in the void.

Making a sculpture is no different, except that you are dealing with three dimensions, not two, and the resulting void of space is that much larger and intimidating. While later stages of a sculpture may be more physically tiring, there is nothing more psychologically draining than the beginning.

SculptureWalk

The whole family at the installation of Nighthawk for SculptureWalk in Sioux Falls, SD.

Art in the Garden, NC

It's that time of the year again for Art in the Garden, the Fifteenth Annual Sculpture Invitational, in Hillborough, North Carolina. If you find yourself near the Triangle Area the weekend of May 2-3, stop by, say hi, and check out some great sculpture. Rain or shine, a great time is always had by all.

New Sculptures

Check out the first two Transitions galleries on my website for a number of new sculptures as well as new images of existing pieces. Due to the size of some of the pieces, I had to wait for the weather to cooperate in order to photograph them outside. That meant not only waiting for the right diffused light, but for Spring to arrive as well. Thank goodness it has. Winter has passed and the green is returning once again!

Traveling sculptures

My first real sculpture trip of the year was to pick up Portal (seen, or rather, not seen, in the crate in the back of the truck) from the Plains Art Museum in Fargo, ND and then head down to Northern State University in Aberdeen, SD to pick up Nexus. I arrived home very early the following morning, just before an all-encompassing fog descended...

Art for a New Era

There is understandably a lot of pessimism out there today. By "out there" I mean most anywhere, but specifically outside my studio doors. Because inside, I remain surprisingly, almost unnervingly, optimistic. For someone (mistaken, I would argue) perceived to be a bit of a curmudgeon, this is an unusual state to be in. What hope could I possibly have in an art world undergoing rapid capitulation by many individual artists and art organizations?

Put simply, I believe much Quality, meaningful and well-crafted work will not only survive this Grand Purging, but will thrive in an era more skeptical of exuberant claims and glitzy sheen. Work grounded in Nature, history and our human desire for meaning will continue to be valued because it satisfies an expressly human need for self-creation. Work which looks beyond the navel of its creator, which connects on an intimate level with the viewer, will communicate in a way that hype and market forces never can. I am optimistic because I think these difficult times will lead people to search out the type of authentic and insightful work which I value. It is also the type of work I aspire to create, and the type of work created by other artists who I admire.

Once such artist I recently discovered is Andy Paiko. Check out his site and spend some time exploring his heart-breakingly poetic work. Paiko's glasswork is like alchemy to me. I understand steel and its resiliently fluid nature, but the fragile fluidity and structure of his glasswork is a mystery me, in the best possible way. I find myself mesmerized looking at them, captivated by their detail, form and execution.