The Other Side
After a 6 year hiatus, Robin will be showing his incredible patinated metal art next year! We’ve been collaborating since 2012, a decision that was made after breaking my elbow, having shoulder surgery, a torn bicep tendon and 2 dislocated fingers. I couldn’t help Robin hang his work at the shows, because at that time, all of his work was very heavy, being made from a heavy gauge copper or brass with bronze angle framework on the back. During the past 6 years he’s learned more skills and come up with ideas for making his work much lighter weight. Some of the metal will be clad onto bentwood frames to give added dimension and all will feature his extraordinary patina work that is very painterly in approach and feel. I’m so excited for him. During the eight years he showed his work he did it all—got into the nations’ top shows, sold well and won many prestigious awards, including Best of Metal at the Philadelphia Museum of Art’s Fine Craft Show.
I will be taking a much-needed retreat from the art shows. I’m getting burnt out from the relentless pushing of a theme for the past 25 years. Not many people outside the profession understand the hoops an artist must jump through just to get into the shows. The part that is holding me back just now is that it can be a whole year or more from the time you finish a piece, photograph it, apply to shows with 5 or 6 other pieces that all visually make sense together and then actually do the show. This makes it very difficult to explore different avenues, as the work you have in your booth must be like the images you juried in with.
I’ve got a persistent urge to work in clay, probably stemming from my pre-school years spent making mud pies! Several years ago I did a series of clay torsos which was a very emotional response to my family situation. Having moved on past that, the clay work I’ve done the past couple of years making flowers for our wooden boats, isn’t enough for me. So while Robin shows his metalwork next year, I’ll be on a self-proclaimed sabbatical, exploring new themes. I will accept commission work during this time, for anyone that wants a boat or Jewelry for the Wall sculpture.
“Serenity” is finished and she turned out beautifully. She’s one of our new cargo vessels. The Cargo Vessel Series carry something symbolic on their deck–a gift, a boon a treasure in the form of a nest or flowers. “Serenity” has a recessed deck carved to simulate gentle ripples on the surface of the water. She has hand-painted clay flowers on a hull of carved basswood with a crackled and painted finish. The open flower has silver wire stamens and the boat rests on a walnut base.
While the symbolism of the water-lily varies from one culture to another, it is interesting to note that the scientific name for them is Nymphaea, from the Greek word for nymph referring to the feminine spirit inhabiting bodies of water. In this sculpture I’ve chosen the water-lily to represent the importance of nature on our journey. For me personally, it is also representative of my teenage daughter, the would-be marine biologist, whose life was lost in the water, during the bloom of the water-lilies.
We are also showing the first two sculptures from a concept by Robin, called “The Life Boat Series”. These boats will all have a box, sometimes hidden in the hull and others carrying it on the deck. The box is for the interment of a loved one’s ashes or mementos of a life. Shown here is “Reflections” which carries a hand-hammered and patinaed copper box with a clay scarab, symbol of eternity. This box may hold a portion of one’s ashes or wedding rings or other mementos.
“Voyager” has a hammered copper clad deck and a large hidden box within the hull. Resting on the lid, is a copper nest, home to a single golden rose, symbol of love. These sculptures and more will be exhibited in our booth Nov 10-13 at the Phil Convention Center, in the Philadelphia Museum of Art’s Fine Craft Show.
Amazing what new glasses can do for you! I recently greatly increased the power of my readers and wow, that with a closer light source has made all the difference in the world on the detail and surface work in my clay building. Consequently, I’m discarding most of the flowers I had made and fired before the July Ann Arbor Show. The amount of time required for each flower is three to fourfold what it was, but it is worth it. The ability to see so much more detail has allowed my forms and the surfaces to become more refined. I’ve slowed down and I’m loving every minute of it.
Images here are of two water-lily buds in the drying process. There were many hours in experimenting on how best to form the petals and then how best to construct the flower. I’m pleased with the result, pre-firing. This is the water-lily that will be fully open when finished. After this photo was taken, the outer petals were propped up over night before adding more petals. The addition of the flowers to some of the boats is both an aesthetic and symbolic choice. I’ll have more to say about the symbolism of each flower as I write about each finished boat.These water lilies are designed to go on a sleek wooden boat that Robin has recently finished carving. He decided to gouge carve the bottom of the inset deck, requiring an additional three days to sand it after the carving was finished.
More in the next posts on the chrysanthemums, Robin’s “Life Boat Series” and my “Hanging Boat Series” which will be introduced at the Philadelphia Museum of Art’s Fine Craft Show this November.