HORSES AND THE SURF

I was traveling north on CA Hwy 1...the surf was wild and the sun was out. I almost drove off the road. I was so moved by what I saw...a true force of nature. The surf was storm-driven and the sunshine was only a temporary condition. When I got to my destination, I ripped up the grocery bags I had with me to make sketches (probably the first time I did not have my trusty sketchbook) The explosion of surf as it pummeled the sea stacks seems to suggest entities. (I'm sure I'm not the first to see this apparition) At first I sketched figures because this has been my subject matter for a very long time. I finally gave up and admitted that was I saw (and felt) were horses pounding though the surf. So I'm following the muse right now to sculpt what I saw. it's a learning experience!

COPPER CARBONATE

I sometimes use a copper wash under my iron oxide surface finish. The results are unpredictable and often very dramatic. It's a process that's impossible to control to any degree, so you just have to take what you get. I did a little photo essay of the progression.

USING MACQUETTES

I always make a bunch of sketches...I keep it all  in a book so I can see all my ideas from certain periods and how I evolved. Maquettes are new for me, I don't even know if I'm spelling it right...the dictionary doesn't have it. But, spelled wrong or not...they are very helpful in planning how to engineer each piece. The socks are my armature. I work with slabs and this unlikely method allows me a lot of flexibility.

LIGHTNESS OF BEING

It has been a long journey to move, set up a new studio....and find out who I am here in this new place. After much experimentation, I have found a surface for my work that pleases me. I use the dark oxides as an undercoat and apply raw clay after firing. I also find that I must include FEET! why I don't know...ask the muse.

WHO'S THERE?

After being away from my work for these past months (and moving) I not sure who the sculptor is right now. It is said that art is a reflection of the location of the artist. If that is true, much has changed and I go searching every time I get my hands on clay lately. The face is where the eye goes, so it's where I experience the most drama...what is this sculpture about?

BACK IN THE STUDIO

It's been quite a while since I had my studio adjoining my house. This new studio came with much hassle. I even had to tear down work tables and shelves to rebuild when the city told the electrician that the kiln had to move 10 feet before they would give him a permit. The rebuild was better than my first try and now everything is operational. The vent got connected last night...but the kiln isn't full yet. I've forgotten how much work I can stuff in there.

SEGMENTS

The size of the kiln has always been the limiting factor in my quest to be more exuberant in my work. The open nature of my sculptures encourages warping when I work a piece in segments. I think I am finally getting a handle on how to keep the spontaneous nature while expanding the size. This piece will hang from 2 carefully spaced hangers on a wall.