Friday, November 21, 2014

Work of the more distant past and the just a few weeks ago past...

Laura Montgomery curated a show of ceramics at Bunker Hill Community College. She's so gracious that she came over with her truck and students and hauled the boxes downstairs and away and they all set it up. Naturally I missed the opening because I wanted to see Jim Greene talking about why it was so important to keep Suffolk Downs open by picking Revere as the casino site..that came on at 7 and by the time he'd talked it was DARK…and I absolutely hate the dark…   It's late fall and often dark and the opening was, by then, in the dark. I could have gone if I'd left here at 5:30 and gotten there by 6 when it opened…Alas. But it's a very nice show, like a little jewel to come upon in that huge campus of  hurried and hurrying students. As someone who paid for parking at UMass/Boston, I can't imagine paying only $20 a year for parking…perhaps most students are commuters. Anyway, it's a nice campus…  And a delightful show.   The small grid of six self-portraits in which a nude using her body as if it were clay weren't included. I think that makes the piece stronger, but I'm glad to have shown it and that Laura was able to do that.

(I should add that the casino license was not given to Revere which endangers the existence of a Thoroughbred racing track in Massachusetts and thus the lives of many people from grooms, to hot walkers, to horse shoers to trainers. I've been working on video taping interviews with many folks and some of them are on a new website

and more will be added….  Nine years of work.)
I absolutely had to do something with the paper I made in Cathy McLaurin's class… eight hours of driving back and forth and something like $220 for the class… (not that I begrudge the expense of those classes because the ones I've taken have been interesting…and quite inexpensive and Cathy is terrific)…but anyway, it was an investment and here I was with a huge piece of drawing paper covered with interesting shapes made by flicking a string held on a thin dowel and dipped in ink…   I loved the process, quietly standing there while others applied paint in various ways including with a toy bow and arrow…  their pieces were far more colorful, dense, intense, but I liked the process I used. And wanted to do something with it. The problem, I found out, when I decided to make an accordion book is that it was drawing paper and the paper cracked slightly in the folding. I had to buy linen tape to reinforce the back of the folds. It wasn't particularly easy since math isn't my forte…nor is cutting even slightly heavy book board… and it's a bit formal. But I liked the idea of using ink drawings of the some of the mushrooms I've been photographing for the last four or five years.  It's a bit formal, another book with a black cover.

By the third class, I realized that I liked the surface design I'd created and wanted to use that technique again. We were supposed to use a variety of tricks/methods to limit our way of applying paint..using a long stick with chalk at the end of it, applying a splint and tucking a paint brush in it.

But I used a toy I'd bought for Sherlock, four feathers on a stick, and flicked ink on BFK Reeves that I'd brought. (I did make another sheet of the supplied drawing paper using the same technique, but since I knew I was going to make another book, I finished the class using my paper.)

Since I'd applied the design using the cat toy, I thought I'd use drawings of Sherlock Holmes as I'd used drawings of mushrooms.

But as I walked by the kitchen table, I noticed refractions of light from the fruit bowl, pale, delicate lines which I traced.

I'd made many line drawings of shadows as they crossed the wall at the first landing of the wide staircase in Les's old dowager of a Victorian where I lived for five years. I loved those drawings and never though I'd find anything to replicated here in my little apartment.

I liked a lot of the work in the show Laura curated..from rather primitive figures to very finished elegant pieces. All of it was more than competent. But along with taking photographs of my own work, I took a picture of this piece by Sparky and two of the three 2-D pieces by a man who now works at Feet of Clay, but came from Bosnia, if I'm correct. He worked on clay tablets as if he were drawing and added a clay form. They are charming as is Sparky's piece, I thought, of found female forms.

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