DEALING WITH THE COLD

Finally, it is cold in South Carolina.  It has not been for long, and the length of the good weather at the end of last year was remarkable and unsettling.  Now over, we have to face the normal chill for a little while.

Our big chill is all my fault, not Glenn’s.  When living here alone, building this house, I chose not to include central heating.  The system I could have bought, it was the monthly bills that scared me.  And it is so moderate here,  I wondered about getting by with a gas log in one of the two huge fireplaces we have.   So that is what I did.

IMG_0341.JPG

It really has not affected us much.  There have been really only about four cold days where we did not care to go outside.  But outside is where all the appealing stuff exists, including our art work.  Creating my work is a pathway to feeling OK, and I need to do it.  Running will do that too, but running is tough in the cold weather as well.

IMG_0342

What work I have accomplished is changing.  Getting simpler.  Keep thinking about poetry and editing writing.  An image should contain only what it needs.  Nothing else.

IMG_0304

This piece is called  “Impulse”.  It is pretty spare, but the relationships between the lines are interesting.  I am using three legs in this series, lifting the window off the ground, and importing colors only through objects used.

IMG_0294

Chair legs, spindles and a child’s wooden block are the only recognizable images in the piece.  Other shapes are just odd pieces of wood we have around here. Yes, the piece leans in.  It seems to move.

IMG_0298

Other side.  This window has been several colors in its life time, and that is where the patterning is coming from on the right and bottom of the window.  It is so easy for me to reveal color; to apply it, the worst.

The piece above is entitled “Gravity 2.11.16” for the obvious reasons.  It is woozy in its stanze as well.  Space and time.  Unpredictable?  Maybe not, thanks to Einstein.

IMG_0314

Not a very flattering angle, but this image shows the depth of the piece.  You can see it is a visual cousin to “Impulse” as spindles and legs from the same chairs are used. Work tends to flow in this way.  If work is truly expressive of a temperament at a given time, examples will have common denominators.  Unless you are doing commission work.

IMG_0344

Above is a detail from a current commission.  Only thing in common with my work is the “waste” part.

INSPIRED BY MATERIALS

INSPIRED BY MATERIALS

 

IMG_0175

Ronald Reagan’s Egg, 1987        Lee Malerich, 2016

The making of a work of art involves searching in many ways:  searching your soul, your opinion, your surroundings.  And then organizing this information in the way it must be.  The best work takes advantage of an expressive shape, and sometimes moves it into a foreign context.  This is what I want to do.  Connect unlike things.  Connection is powerful; I watch my 22 month old grandson connect and sort and arrange often.  It is his work.

IMG_0177

Lots of materials are given to me.  Some I buy, but won’t pay too much.  It’s a game.  I always wanted to do this while still teaching, but never did.  Give each student the exact same group of materials, and have them put them together.  Set the compositions up in a gallery and view the relationships and connections between the finished works.  There, the artist exists.  In that indefinable space.

another materials

My search for materials is always exciting.  It is with the odd inspirational shape that the pieces begin.  My windows are the canvas, only they have more than two dimensions.  See the blue legs above?  A great find from last Sunday.  Have to hold myself back from cutting in to them.  Must live with them for a while to make sure they end up in the correct piece.

Not many of the shapes in the works have I actually owned beyond as art materials.  The piece above, Ronald Reagan’s Egg 1987, contains an exception and a story.

 

IMG_0176

Ronald Reagan was in office at the time when he sent 249 other artists and me wooden eggs.  Five from each state.  We were to use the egg and work in our characteristic way to embellish it.  We were given two.  The exhibit was to accompany the annual egg roll which was celebrated each Monday after Easter on the White House lawn with children.

I was a stitcher at the time, and you can imagine my terror of having to do something with this surface.  Spray painting them both black first seemed to be a smart thing as a stitching frenzy began.

Ended up stitching on my typical surface, cutting the stitched part off the frame and gluing it in a certain area of the egg.  Then over and over again.  A satin-stitched egg.  Don’t even have a picture of the thing except in a flashy newspaper article done in “The State” on the five  artists in SC that contributed.  That was worth the trouble.

On a rampage through my studio for some elusive thing last week, I found the black egg that (laid) unused in a drawer.   A yellow sticker on the flat bottom read “1987”.  Raw material!

And an egg was currently a symbol/shape that I had been using, only the black egg was bigger.

IMG_0037

F. Scott, 2015

This piece featuring the wooden roadster sinking into a surface has two eggs in it: one representing East Egg from “The Great Gatsby” and one representing West Egg.  Just love it when the Universe provides the correct materials.

THE BEST OF THE LATE FALL

THE BEST OF THE LATE FALL

So warm here, the work in the barn has gone ahead way to the end of the year. For me, working all the time is the only way to stream innovations.  They jump aboard during creative play.  If play is not happening, they do not.  Innovations do not start in my mind.

For instance, the following.  Glenn had been complaining about the heaviness of my bases lately.  But my aesthetic has always formed around what we know about gravity.  My compositions are heavier or darker at the bottoms because that is what we expect in the world in which we live.

IMG_0037

Heaviness at the bottom of the piece anchors it as gravity plays on that mass.

So recently I tried this.

IMG_0138

Dancer, 2015.  Pulling the window off of the floor animates it.  Having the weight of the piece on three legs stabilizes it.

IMG_0135

True, this piece needs much more space to stand on, more than the former window-based sculptures.  And true, Dancer looks like it is going to flip.  It won’t.  I have been scrawling the names of the pieces in pencil, as at the bottom of the window above,  and then making aluminum name tags with the date and my signature, to the right of the word  “Dancer” above.  Signing the tag with a Dremel tool is not easy.  Sometimes spelling my name incorrectly, I just leave it.

IMG_0133

IMG_0147.JPG

This is called “Escher Poem”  2015.  Not a surprising name with the bit of a staircase-like wooden construction that I found at the Goodwill Clearance Center.

IMG_0143

Of course, this is in no way as complex as Escher.  This is his work, loved and digested by me,  spoken in my visual language.  Bought 27 lonely legs for thirty bucks at one of those antique grocery stores with booths.  They are proving to be worth the big price.  Waste, you know.

IMG_0129.JPG

“Friends” 2015 is scrawled across the top here.  More of those fine legs are included.  This piece is made from a much bigger window, and uses larger legs.  Three of the largest.  It measures about 47″ x 31″.

IMG_0128

Animal friends, these are.  Colored wood is added to the supports for the panes.  I use the sander to take color away or lessen it on some shapes.  All is highly varnished.  Some gouging with the dremel is used on the little cat at the upper left.

 

LOUISE-MUSE

LOUISE-MUSE

Dear Louise, some of the pieces have more complicated bases and therefore are not as simple as those in the last post.

IMG_0079

Flood,  2015.  From the side, this piece looks fairly simple, and very different than most. It was created during the time of our recent thousand year rain in Columbia.

IMG_0078

Pushing the bases beyond any kind of norm is really fun.  So is using hardware in an unusual way.

IMG_0087

Male/Female,  2015

IMG_0084

In this piece shapes were composed on a plane to have enough diversity to anchor the window. Then the bookends were placed for added strength. Wooden figures found at the flea market populate it, a bent wood section of a chair encloses an alligator reaching for a shape at the top, while two croquet mallets without their heads frame.  The longest diagonal line is actually a hardened wooden vine from our woods.

IMG_0067

Above and below are two sides of a piece currently on exhibition (but to come back in ten days) for which I have forgotten the name.  It has a complicated base that contains the front two legs of a chair, plus the front seat base with holes for wicker.  A portion of that base with holes is also the crown of the piece.

name? 3

Confused, dear Louise?

JEEZ LOUISE

Some of the new work is more simple.  As always, more views of this work can be requested.

IMG_0047

Curveball, 2015   39″h x 23″w x 10″d

Worked a long time on this one.  Hoping less is more.  Spent time adding and subtracting, trying and rejecting.  I see this as if not one more or one less element should be included.  Haiku.  Maybe another view is in order here.

IMG_0044

The two curved parts which make up the base are from the same Captain’s chair.  Primary colors dominate.  The longer I have this piece the more understandable it is to me.  It sits outside of my usual composition.

IMG_0100-001

IMG_0074

Animal Shadows, 2015   (still in an exhibition:  approx. same size as others; the crown makes it slightly taller)

Another thinly orchestrated piece.  The curvy loop is a metal tine from an old hayrake.  Perhaps influence from my husband’s work.  A bent wood chair leg makes up the crown.  Part of a find of an old wooden croquet set provides color here.  All gone now, it was a thrill to use those pieces that reminded me so much of my childhood.  Hardware from the window used in a different way fixes some shapes in place.

IMG_0032.JPG

Pattern, 2015   39″h x 23″w x 10″d

This piece is simple on one side, not so on the other.

IMG_0031

Had fun with the dremel tool making fake wood grain.  Another bent wood element is present here, along with a “chip” off my husbands old wooden scrub brush, repeating lines in a different way.

IMG_0101

Thinly Orchestrated, 2015    (on exhibition, similar size as others)

Fine contrasting colors of aqua and orange make up the base; most other elements are a washed gray.  The focus is a kind of crescent shape, repeated in different ways.

Lastly, dear Louise, an image of “Play” in situ.  Beautiful morning.

IMG_0083

 

FOR YOU, LOUISE

FOR YOU, LOUISE

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.

IMG_0123

another play 1

Play, 2015

IMG_0063

Replay. 2015

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.

IMG_0520

 

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.

 

 

 

BEV-LEE HAS BALLS

And lots of them.

IMG_20150610_180222981

Many of her balls are colorful old bowling balls which carry along the patina of age.  To install some of the outside ones,  she simply places a little rebar stick into the ground, and into the thumb hole of the ball.  She judges the length of the rebar to make them hover, and in this case, above the grass on Isa’s island.  Isa the greyhound used to make a bald spot in the middle of this island as she was master of this domain.  Kind of like the Little Prince on his planet, I always thought.   Isa is gone now, but the balls keep her memory on the island.

Bev-lee is old enough to have established her style.  Some never do, but she has loved orbs as long as I can remember.  She used to have an admirable glass office with her big job, and you could see the balls all through the adjoining work space.  Having an even bigger job now, she works from home and all those balls are in the home office.

IMG_20150610_180135104

They hail from all over the world, and they are not just decorative.  These icons of hers run much deeper than just objects to collect (although there is much merit in simple collections).

Balls are Bev-lee’s visual language.  They integrate all the rooms of her house visually, and the balls on the inside and the balls on the outside claim the same nationality.  They are visual team players.

You have already seen outside balls and inside balls, but these balls also do jobs.  This is why we know that balls are far beyond a collection.  They solve problems, they create compositions, they move.  I told you Bev-lee had balls.

IMG_20150610_180039549

Does your Mother-in-Law Tongue droop over the edge of its pot?  Use balls to keep it in place.

IMG_20150610_213341097

Need a dust ruffle for your bed?  Why not use balls?

IMG_20150610_180149762

Blank space under a tall table?  Fill it with balls and play with interesting texture contrast as well.  All good.

EVERYTHING is a composition.  The entire interior of this house is connected visually by repeated orbs.  All the rooms make sense together.  And this repetition is really important outside the house; in the front and back.

IMG_20150610_180343662

The idea of balls is introduced to the viewer at the entry of the house.  Here the red annuals were selected to repeat the beautiful red bowling ball.  So now you know what you are in for in the back of the house.  Welcome to ball world!

Bev-lee has been working on a couple of ponds for many years, and creating the landscape around them.  It was many years ago, hotter than hell, when we were racing around the city doing what we do when we get together.  The “Waste as a Way of Life” world joins the orb patrol for a couple of days.  We saw that some enormous bushes were being fairly ripped out of the gardens of a shopping center.  The bushes themselves plus the root balls probably stood five feet high.  We asked about the future of the bushes; they had none.  Bev-lee talked the workers into bringing the enormous things, maybe eight, to her house, and then muscle them into the back yard.  She tipped them well.   We dribbled water on those big boys for a couple of days until she could get them planted.  It is shocking how many survived; I swear it was 100 that day.

IMG_20150610_181919912

Above is one of those bushes, probably four feet high and wide now, and below is its context.  It is part of the landscape of the upper pond.

IMG_20150610_180240713

There is a footpath between the two ponds.

IMG_20150610_180249881

And the lower pond.

IMG_20150610_180257638

Form plus function is the best, anyone will tell you.  This is what is so marvelous about Bev-lee’s universe.  She wondered  how to keep the netting that holds leaves out of the ponds in place for the winter months.  Her solution is brilliant.  She puts a big exercise ball in each pond in the middle.  On the edges, smaller balls secured from bins at Target.  After the nets are installed, the balls don’t move, and the leaves are excluded.  And her orb fetish is intact!

IMG_20150610_181734829

It gets better.  For two years she has not removed the balls at all when not needed in winter.  She chose their colors appropriately in the first place, they are lovely as the little waterfall moves them around the lower pond (movement is a great attribute for a composition) and she has not had a fish taken by predators since she decided to leave them.  Trifecta!

IMG_20150610_180302557

Bev-lee has balls.