And any interested parties.
I am going to group recent work in “families” where a common aesthetic consideration can be observed. Then we both will understand more about the work. It is important for an artist to write about their work as it installs information in another part of the brain. And formalizing thoughts into words does the same.
“Artist Statements” are about this but are usually so dry. So. I have three recent works that utilize the same straightback chair, and therefore “feel” similar to me.
Any work of interest to you can be recorded with much more detail and posted.
Funny, this process is already working. I had thought each of the above examples featured the same small straightback chair as a base for the composition. They do not! But each pairs a chair and a similar window, table legs, whimsical parts of playthings, wooden beads cut in half, and primary colors. The piece just above shows the first time a large circle was drilled into something to become a motif. The (is it Chinese Checkers?) board that is part of the base has two circles drilled out, plus a small wooden cylinder that repeats a circle in a different way.
These three works depend on symmetry more than most. Usually discouraging it with my students as the easy way out in composition, I embrace it here, although the first of the three is the strictest (its name is not posted; it is on view at USC Sumter currently and I cannot remember its name). Even within the strict context, elements are not repeated symmetrically, but are placed to move away from it. And of course, there is no symmetry present when viewed from various angles.
Duck heads, duck bodies in profile, headless ducks and wings are common to the second two. Halved croquet mallets are common to the first two.
First starting to work with chairs in this way was when I made a gift for my grandchild celebrating his first trip around the sun. For a work for a child, there was necessary whimsy. That feature has stuck around in these later works.