Cleaning Up at Foxy-Wolff Studio

With school and The Magic Box complete we are moving back into projects and ideas that we had to leave behind because of the limits of time. First up is the heavy cleaning/rearranging of the studio for a series of classes coming up beginning in early February.

The studio is above all a functional space and changes a great deal to suit our current project, most recently, aside from a small space for us to fill some christmas pottery orders it has been a storage space for The Magic Box. Also we’ve been so focused on that project that some of the unused corners of the studio had filled with unconsidered objects.

My grandpa loved games and puzzles and there was one he had that I played with often. It was a small plastic number slide game.

Rearranging a small space is exactly like playing this game, it’s all about how you begin. For us this meant moving the boxes, pedestals and art from The Magic Box into storage until it shows again. So the storage room was the place to start for us. Gabe is an animal about this kind of work, and he had all my personal storage lined out in an afternoon and the pedestals and the rest put away in the next few days.

While he worked that out I had to make sense of the working area. That space has a tendency to get cluttered with the remnants of works in progress, including old clay bits in need of reclaim and tools misplaced on shelves. A clean studio is not always the highest value but its great to get a clean reset before the beginning of a new project. I think it helps to keep ideas fresh and forces us to deal with the dust fairly often.

This freed up the center space, leaving only the Kuan Yin of the Magic Box on a table in the center of the room. More heavy lifting cleared a space for The Great One and we hung her where she can watch over the large front room.

The glaze room was the next priority, that involved clearing the old front office space of everything and then gathering all the materials and tools used in surfacing the ceramic in the kiln.

Critical to inviting other people to the studio to make art was lighting all of the work space. Gabe to the rescue again. Heres a funny little video he made to celebrate getting up on a ladder (again).

Look for posts coming this week with details on the upcoming series of classes.

The Magic Box Complete

The Magic Box has been the central focus of Foxy-Wolff over the last three years. During that time the project evolved into more than we could have imagined when we conceived the idea in hotel room in Hays Kansas. To bring all that time and work together into a solid installation was the focus of nearly a year of that time.

The first step to bring the installation to completion was the show catalog. The size of the objects with their projections makes photography one of the most demanding aspects of a show like this. To get the images we felt we needed, we were fortunate to borrow the gallery at Colorado State University.

Magic Box Catalog (low res)

This was a dress rehearsal for installing the complete show and so required us to consider every aspect carefully. This meant pulling together and retesting all the tech, building the pedestals, and solving the problems set aside for later consideration. Once done, we were ready to set up and photograph the show.

Because projected video is such a crucial element of the installation, lighting the gallery was a central consideration every time it went up. For the catalog we lit the space far more than we did for the actual showings of the work, but even so the images were very challenging to work with.

One of the most incredible things about this project is how multifaceted it is, requiring us to extend all of our skill sets. This was especially true of the catalog. Most graduate students hire out this aspect of their MFA show, but because of my intermedia emphasis, I chose to do this myself. One of the long-term goals of my education was to become proficient in Photoshop and Illustrator. This was the first step on that road. Using some terrific online tutorials, I shut myself in the house for 6 weeks and got focused. In the end I had to learn Indesign as well, plus stay focused through repeated edits but it was a wonderful period of learning and we were really happy with the result. Here is a link to the tastytuts channel. It’s a fantastic resource.

https://www.youtube.com/user/TastyTuts

Once all these preliminaries were complete we were off to install the show at the Moss-Thornes gallery on the FHSU campus in Hays Kansas. Getting the work and equipment to the gallery was our next major hurdle. Our plan was to rent a truck but by the time we finished acquiring all the last-minute gear for the show we were way over budget on the project and so had to find another option. fortunately we were able to arrange the install with graduation weekend so my parents took it and us in their camper and we all stayed for the weekend.

We consider the blog and the website a central piece of The Magic Box. To bring those aspects into the gallery we used QR codes as gallery tags. We generated these through a Japanese company that allowed us to incorporate text and images into the codes design. Using these meant we could keep text and other distractions to a minimum in the space and worked beautifully with the overall content of the piece.  All the QR tags are shown in the catalog pdf above.

Once all the details came together the installation came down to the same effort and endurance required of all installation days. Though exhausting, this is one of our favorite aspects of working in the visual arts. With a couple of good hard days we had the show up and ready for visitors.

In addition to the show in Hays we were fortunate to be invited to show it at the Hoag Gallery at Colorado State University-Pueblo. It was wonderful to get to put it up and take it down so many times in a year, of course each gallery added new features and challenges to the work which really allowed us to understand the dynamics of the entire show.

 

It’s a thrill to see the installation complete and hear from so many people who appreciated the work. We have settled on our next large-scale project and will be developing clay bodies and concepts in the coming months, stay tuned.

 

 

 

 

 

 

Finishing The Great One

Completing the Kuan Yin of the Magic Box, or Great One as she is known in the videos, was a complex process that began as soon as the firing of all the components was complete. As noted in a previous post, the sculpture, made from Laguna’s white stone, had many of the problems that we experienced with the Empty Room house, primarily cracking. The first step then was to repair that damage. For this piece I used PC7, as its value is similar to the fired surface of the ceramic.

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After repairs, sanding and automotive primer finished off the surface.

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Initially my plan was to hide the repair marks entirely, but looking carefully at the surface we found we liked what was emerging and decided for a less is more approach. For fine-tuning the entire piece, it was necessary to assemble and disassemble several times, grinding the pieces to fit neatly then finished off the prep work for the wall hanging.

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Gabe cut the backing for the sculpture to mirror the door ways in The Black Church then ripped the board in half so that the sculpture could be moved in two sections. After finishing the backing prep, a Durock silhouette cut out and mounted to the backing in preparation for the ceramic.

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The Durock was then masked off and a heavily textured deck paint applied to the plywood to add dimension to the background. Once this was dry, layers of spray paint added as preliminary surfacing.

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This dried for 24 hours, then an application of thin set on the concrete board and the ceramic pieces set into this adhesive.

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After another drying period, masked off the backing and the epoxy/mortar mixed with iron oxide and applied to the cracks and edges of the entire piece.

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The surface was then refined again and the piece was ready for the acrylic layers that would add the final touches to the sculpture.

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The last step was the framing that hides the screws that mount it to the wall.  Gabe designed this frame from 2 x 2’s, biting a section from the boards that allow it to wrap the edge of the plywood.

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The last element to place was the television and DVD player that complete the piece.IMG_1242

Find the first half of the process of this piece here:

Kuan Yin of The Magic Box

 

Kuan Yin of The Magic Box

The last two months has seen a flurry of studio activity as we close in on the date to install the Magic Box show in the Moss-Thorns Gallery at Fort Hays State University.  The last major piece to be built for the show is a large-scale copy of the Kuan Yin that is featured in the fourth video, The Black Church. This piece will accompany the entire edited video in the last space in the installation and in many ways is the anchor for the show. I see it as an opportunity to flip the scale of the viewer in the gallery and reinforce the image of the viewer themselves within the context of the space, especially as it relates to the cell phone interaction that will be integral to the experience of the show. for this reason as well as my real and abiding love of the work it is based on we have been determined to do a good job on this piece.IMG_9701

The first step was to build the easel. Gabe accomplished this using an old solid core door, a 4×4 and some canvas we has in the studio from the Art Center days. The tech is really costing quite a bit for this show so keeping costs down in other areas has been important over the last year. The easel was heavy and difficult to move which was a good thing considering the amount of clay that would need to be stacked on it.

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The next step was for Gabe to use his observational super powers to scale up the figurine on the canvas so we would have a frame-work for stacking the clay.

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While Gabe worked on that, I prepped the clay for stacking. To build the piece I used a highbred technique of the brick sculpture I used to do with Jarrett Pottery and the large solid sculpture techniques learned during the Beth Cavener workshop in January of 2015. (see post here) The piece required about 550 lbs of clay, which I shaped roughly into bricks straight from the extruded blocks from the clay factory.  I used talc between the bricks to prevent sticking, which turned out to be mistake in a way as I changed my ideas for taking the piece apart to more reflect Cavener’s technique rather than the brick sculpture I had done in the past. The best choice would have been to work for solid attachment of the units to each other as I built the wall.  It would have saved valuable time in the disassembly and hollowing stage. For clay I chose the cost saving measure again. We were still sitting on about half a ton of Laguna’s Whitestone, which is really the last clay I would have chosen given the problems we’ve had in the past with it, but it’s what we had and the dates are approaching quickly so we went with it. Because of this choice we anticipate a good deal of epoxy after firing, with that in mind we will be using a fired and cold approach to the surface.

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Gabe, in the mean time, worked on a second outline, on paper this time, that could lay over the stacked clay and allow us to map in the essential elements.  After that it was a matter of stacking the clay, brick by brick.

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On this last image you can see the outline that was traced onto the clay using the second, paper drawing. The clay was very wet here and carving for detail was not possible, so for the first week or so only crude shaping and removal was possible.

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At this point the form was basically mapped and fine detail could be added. While the piece was based on the figurine, the scale shift required a greater attention to detail that the small piece could not support.  These changes are most apparent in the folds of the fabric.IMG_9774 IMG_9785

You can see in the above image that the clay was really pulling apart, which made finishing imperative. The last section to be tackled was the head.

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I did return later and add material to a few places, the knee and the nose, brow and chin most notably. This is the face before the additions.

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The additions to the face were made after the piece was cut away from the larger whole. In this image the “brick” separations are clearly visible. The first step in the deconstruction phase was to attach the bricks together.  Once this was complete and the attachments had time to set, the entire section was flipped on the foam and carved out from the back to make firing possible as the density of this clay will not allow solid firing as brick does.

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Once the pieces were attached and hollowed out they were sculpted and finished. The remaining sections stayed on the easel as I worked.  After a while the pieces became so dry on the canvas backing of the easel that the whole thing had to come down and be more thoroughly wrapped so they would last while I worked. It took about a month the finish the disassembly.

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After hollowing and attaching, part of the finishing process involved placing each section on a waster slab and then resurfacing with steel wool to remove the making texture from the forms.

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The last step was to wash the sections with a red iron oxide wash that will be sanded back a bit before these pieces are loaded into the kiln in a couple of weeks. Reassembly and cold finishing to follow.