Processing Faces

Face drawing process

I’m going to open this by repeating the phrase, “a picture is worth a thousand words,” and then pump the breaks. I pause because I cannot remember if the number was a thousand or ten thousand words now. I get confused as I say it. I do understand the meaning behind it and how the phrase blew up in the 1920’s. Wait was it the 1914 and was it “a look?” My mind said to me once “A look” referred to real estate advertisement or was an ancient Chinese or Japanese proverb. Fred Bernard pops into my mind as I wonder what his face looked like as well as the faces of the proverb writers. Due to the proud fact that I have never written a ten thousand, a thousand, or even five hundred words about a picture that I was fond of I have issues relating. What did their faces look like? 

Fully confused by the connect the dots picture gone wrong now in my mind, I would like to add a new phrase into this world of knowledge. 

I would like to add a “A look,” wait scratch that, “The face is worth ten thousand written pages of a false history if one cannot remember the face that represents its culture”. 

drawing in progress

“Your welcome and if someone has already stated my quote then that means they were at least as smart as me,” is how I would follow my new phrase. This, to you that do not know me well, is how my brain thinks. Always rapid and most of the time lots of imaginary nonsense  presented as fact to myself. Yes but how does this fit in with the body of work Weighting to Rise your asking yourself?  Creating the faces fell into a couple of categories in my mind. 

For starters the look of Weighting to Rise in Kate’s mind and in my mind had to be set. Yes our work would respond to each other’s and physically change a little but the basic structure was hashed out before I ever started a face for the show. The faces to me are just as important as the vessels or the wall hanging that they are mounted on. The feeling of the cultural belonging is more important than the individual always runs through my mind as I am painting or drawing a face.

clay painting process

 Secondly, the faces should not dominate the space that surround it. A little bit of emotion in the face is ok but the eyes can not reveal to much. I need the work to feel coveted to the point that if you were to polish it one more time the face will be lost forever. The faces have rules just like every other artistic project I work on. The ideas of loss is not only in the content but also in the firing proses. When drawing onto green ware or bisque with my underglaze pencil I always expect to loose atleast %30 of the rich black. I have a couple secrets about that pencil and that’s why the loss is only %30. Sadly, muhahaha, I will not speak of such secrets. When it come to loss of the underglaze pencil work when the low fire glaze is happening, the ideas of predicting what I will get out is very bothersome.

finished wall hanging

    Then Gwaby, then with tears running down his cheeks into his beard, put his hands into the air and shook them passionately while shouting, “why glaze, why must you eat all of my work!!!” The glaze bucket, in response then said to Gwaby, “wow… tantrum much? Dude your the one who made me.”

Gwaby taken back by this experience wiped his tears and said back to the glaze bucket, “word.”

Underglaze- and mason stains

clay painting process

Thirdly the face needs to be a basic face. Let’s say you did know the person whose face is depicted. You  could write ten thousand pages about that persons face and in the end it could be summarized and he or she had a very average face. I find it very difficult to create this work. Fighting the impulses to make each face as tricky and visually dynamic as possible is so hard. Working in slips and mason stains is an art and props to he artist of the world that can do it perfectly. One of the way i can work through compulsive perfectionist issues has been to do a three step deconstructive process. I work on paper as loose as I can let my self. I’ll render a face in my favorite lighting, hair styles, and value changes. From there I will make a reverse transfer that will go onto the clay. This transfer is a very stripped back version of the drawing. This process helps me to to get to just the basics of a face versus sitting down with a brush and a slab and going nuts with it by doing all the detail I could possibly think up. I put myself in the head space of and artisan of their time. The essence needs to be captured and nothing more. 

transfer process

In my mind Weighting to Rise deals with the passing of life and how Kate and I choose to depict an imaginary version to be. The faces are a way for those people to simply remember their dead. The face, to them, implies that the after life journey is not done yet for them.  If these people could not remember the faces then some how the culture and history would be lost. 

Clay bodies and Slips for Weighting to Rise

Our newest installation, Weighting to Rise, engages our interest on many levels, including our love of ancient art history, conceptual evolution of religion and a contemporary understanding of archetypal imagery. The foundation for all this speculation however, is clay.

In the earliest concept drawings for this show I was thinking about terra-cotta red. I love the color but I also wanted to focus on lower kiln temperatures for this show.  The red clay reinforces the connections were making to ceramic objects of a certain age and there is no need to focus on durability or use for these forms as their true purpose is visual contemplation.

Initially we wanted to source the clay locally, from summit brick, but in cleaning out the studio in preparation for this new work we discovered a reclaim emergency. We hadn’t done any major reclaiming in years and there were hundreds of stashes of future intention in every corner of the studio. Organizing and reclaim all this detritus reframed our thinking on the project. The show is in many ways about beginnings and endings and there were so many of those in our lives when we were conceiving this show. The end of Grad school was one of the larger of these transitions and it was partly the deadline challenges of the student lifestyle that left so many bags abandoned. We just didn’t have the time for so much of what is normal studio maintenance. It seemed right then to use what we could of what we had and reclaim all the rest into a new studio body for the coming year.

Some of it we could rehydrate in the bags and wedge back to life. This is a lot of work but the clay does not have to age as much and so is more immediately useful. We slaked the rest down in buckets and mixed with dry. This clay must be aged for some time to enhance plasticity so we did the reclaiming early in the year to accommodate that need.

Reclaiming clay is heavy and demanding work so its great to get help, Gabe’s girls ran the pug mill for a day and really helped us out.

The rest of the hand wedged stuff was random small batches of the clay we had used in the studio for the last four years. There was a little more than 150 lbs of the 200 we mixed when we first moved in to this studio, about 500 lbs of reclaimable White Stone from Laguna of which we bought a ton in late 2013 and a number of clays we only had a bag or two of. These  clays were for special projects or bits friends gave us to try. It was in this last batch that we had the red clays. The one we started with and held to for the entire project was Laguna’s R2 with grog. we had a box of this from my mom who bought it and didn’t use it so it had gone hard in the bags. We started using this as a sculptural medium in the earliest pieces for the show but we found it couldn’t handle water as well as some of our preferred clay bodies so we decided to use it a slip for surface treatment and not the structure of the work.

We were especially focused on its interaction with another Laguna body, Babu porcelain. we’ve used this for years as a slip in the studio for its very smooth texture and titanium free white color. It was the interaction of these two clays that we intended to build the bones of the show.

While I focused on the structure and build techniques we would use, Gabe began experimenting with using clays alone for building up 2 dimensional images.

As the work continued we considered what to do for black and for firing temps more and more. The black we started out using was a commercially prepared engobe that needs a clear glaze over to develop the color fully. While we really liked these results the surface shift with the gloss was not something we wanted to see everywhere and the terra-cotta looks best a little warmer (Cone 01) and the glaze was 06 making once firing impossible.

From here we went off the rails a bit playing with slips and firing temps. We had a small chunk of clay we brought back from the Rain Harris workshop that I really wanted to integrate. She uses the most beautiful black clay from Aardvark, Cassius Basaltic is a cone 5 clay that is very black with a vitreous surface that is beautiful when used as a slip. Using this would eliminate the need for a clear on the black and the porcelain at least can handle the higher temps.

This switch did require a switch in red bodies. For that we wanted to go with a clay that a friend from grad school in Kansas was mining. It’s a midrange clay with a dusty red finish at cone five and we had about 30 lbs of it, plenty for slips. We really loved many aspects of this look, but the higher temps were often too much for the sketchy assembly techniques and so were abandoned. This wall hanging is the best of that combo, before and after firing

wall hanging with face
wall hanging with face fired

It was really the bull that forced us to get real about the firing temps. The technique we used to put that together was risky enough, asking that hot mess to make high temperatures seemed like a recipe for disaster so we brought back the R2 and began looking for another black. We settled on barnard clay for that, straight out of the bag. On its own its very saturated at cone 01 and was a decent compromise.

From here we began using mixtures of various strengths for developing color in the show using the 3 main bodies as a base: Babu porcelain, barnard clay, and R2 terra-cotta

As mentioned earlier we wanted to use what we had around the studio for most of the project but there were a few pieces we wanted science on our side for. After all the struggles with using white stone for slabs that we ran into with The Magic Box, we chose to put some of the trickier aspects in a clay we knew we could rely on. Laguna’s soldate 60 is a work horse for our studio. While not the most beautiful body, its durable, fires well and so forgiving both to students and sculptors who must push edges.

Part of this winning formula is the 200 body we get from the local brick yard as an attaching slip. So much of the insanity of this show is possible because the perfect combination of Soldate with 200 binding it.

Beginning A New Installation

The Magic Box was an enormous and all-consuming project that took up huge portions of our lives over the past three years. Its ben very difficult to nail down the next installation project for Foxy-Wolff. We have been kicking around several ideas since before completing the last, and while there were elements of each idea that we found compelling, not one of them really cried out for making.

Initially we played around with a few possible sequels to the Magic Box, focused on Bob the Unicorn’s childhood, but the rigid control of the rules of that world were too constraining. Also being able to complete an entire installation in a year or less seems an interesting challenge with the potential to dramatically impact its over-all outcome. We were hoping for a work that might be less text dependent, allowing its visceral, emotional content to come to the surface.

An entirely new work seemed in order, so then it was time to begin sifting through ideas.

As one might guess, actually getting to work in the studio brought the best of these to the surface. The last post outlined the evolution of the structure and aesthetics of the upcoming work.

Process and Inspiration

Over the weeks the clay shaped up Gabe and I were refining the overall direction and intent of the installation, with Gabe providing drawings to aid in the conversation.

The concept of the show engages our fascination with ancient funerary art, and religious practices directed toward the dead. Each individual element in the gallery represents a families remembrance and the living process of creation that is the natural product of such a process. We concern ourselves  with the boundaries between worlds, feeling that riding that edge is the place where creativity rises.

Funerary art is also some of the most readily available records of extinct cultures. The pseudo-historical potential of work like this allows construction of a narrative without having to outline a specific “story”. The show marks a significant transformation of both the project (Foxy-Wolff) and our personal lives and so thinking of burial to mark that transition makes a weird kind of sense.

Elemental transformation is also a key concept for this work. the geological transformation of the rock cycle referenced through the clay mirrors the transformations of life and death; family member to ancestor. The technological aspect of the show will emphasize these by allowing us to light the gallery with fire and water  without having to work with building rules and insurance policies.

With this show we are making an offering to those who come to experience the work. In turn we give those an opportunity to offer something back to the work. By giving sand to the images and objects in the gallery, the viewer brings soul from the earth and allows it to rise, much like the fire and water of the videos.

Weighting To Rise gives us an opportunity to share our passion for the strange and beautiful, to mine the great well of myth and belief that surround death and to invite the viewer to share in the process of making the space and the installation live via their participation through action. The finely rendered paintings, made from the same material as the rest of the work  are the center piece of the show and add precision and emotion to the elemental presentation.

 

Community Revisited

Gabe and I started Foxy-Wolff when we were both working at the Art Center, Gabe as assistant Curator and myself as resident artist in the ceramic studio. That meant that the work of the first couple years of the project came out of a community studio. While much of our time working on those early projects was outside of the studio’s regular working hours, there are still considerations when working with others that just don’t come up in a private studio environment, such as putting things where others can find them and giving and receiving awkward hugs (Gabe’s favorite).

On the upside, having people around forces clearer communication and invigorates stagnant ideas with new perspectives, plus its more fun.

Our latest round of classes were an exact balance of all the goodness and just enough hugs to keep us on our toes. We hosted a small group that included friends from work, our kids and a few notable drop-ins’. The classes had a very loose structure and wound up running most of the day on the Saturday, with a fluid movement between wheel and hand building with lots of inspiring conversation throughout.

And the results? Pretty fantastic really. In addition to the batch of great ceramics we made during the 6 weeks, we are building a community that will continue our Saturday’s and the conversation.

 

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.

 

 

 

 

 

 

Digital Do Over

One of the biggest projects we’ve taken on in preparation for the show in May was to reconstruct our online presence. Over the years we have built several websites and blogs on a variety of platforms, some of these obviously work better than others.  The goal was to combine everything to a single platform and server. We chose to go with third-party hosted WordPress. The platform was an easy choice, the blog has always been on WordPress, it’s a format that I am comfortable with and with the plugins available through third-party hosting, it is an incredibly versatile platform. For hosting we chose Go Daddy, primarily because we bought our domains through them years ago and changing domain hosts is a lot of work. We also went with them because of an end of year sale on hosted WordPress sites, we were able to buy 5 sites for two years for slightly more than it would have cost to host the page I wanted through wordpress.com. In addition we would be able to use Etsy as our cart, which after struggles with several different carts over the years was a huge win.


The Blog was the first site to rebuild, it was already in the correct format and needed the least development. I began by initiating the domain transfer from wordpress.com of our .me. It’s a good thing i began this process early, as there were many wrong turns and false starts. I’m sure for truly educated tech heads these things are completely simple, but for me, with no formal education in web development, everything starts as trial and error. The cool thing about doing it all myself (with a little help from my tech support friends) is all the learning. through the process of moving the domain and eventually the blog I learned about all sorts of hidden settings. I feel like every afternoon of tech struggle makes me appreciably smarter.

Step by step and week by week I transferred both the domain and the blog to the new server, though transfer of the blog itself required help from Go Daddy because of its size. The WordPress specialist tried 3 or 4 different transfer programs before he could get the majority transferred. In the end I did loose about half of my media library but that’s not such a big deal because it’s all on my computer as well. Part of the reason the blog was so difficult to move is that wordpress.com does not allow file transfer protocols. This is part of the security that makes it a very safe host, but part of the problem in not allowing the open source plugins. It’s an imperfect compromise that I hope I don’t have cause to regret one day.

Once the blog was in place I wanted to transfer all the relevant posts to this blog from other blogs we started over the years. This was fairly straight forward but required a good deal of time as the featured images were also some of what was lost from the transfer and early posts were poorly categorized and tagged. In the end I went through and re-edited all 95 or so posts to ensure they were of acceptable quality and that the tagging was in place. I also created new categories to correspond to the .com that I would be building next, so that blog posts on certain pieces could be readily linked to their corresponding web page. I’m so glad I took the time with the bolt that I did. When I began the project I regarded the blog as being in great shape. The review showed many problems that are now corrected.


Etsy was the next profile to create. It is a remarkably straightforward platform that allows as little or as much development as an person wants to put in, though I suspect that the more one does to fill out the site the better the store performs. As mentioned above we wanted to use Etsy as a stand alone but also to have it serve as a cart for the upcoming .com. For this reason I built it before the website so it could be plugged in at the proper time. Etsy is by far the most user-friendly template I’ve tried and it only took an evening to put a small but well-considered shop together. I am looking forward to focusing more on its potential in the months after the show. See the shop here:

www.etsy.com/shop/FoxyWolff?ref=hdr_shop_menu


The website was the most challenging and time-consuming aspect of this reboot. Choosing WordPress was a great help here, as I knew the platform well and did not have to waste a ton of time discovering how to make it work.

We built our old .com specifically for the jewelry on a Wix template. We constructed this large site fairly quickly in 2014 in preparation for the Google Online Marketing Challenge. In addition to taking my business through the challenge, I was the team captain during the challenge. I was a tremendous learning opportunity and part of the reason I feel empowered to do my web development. taking an online marketing class was actually one of the best decisions I made during grad school.

The site itself, despite boasting professional photography and development by several skilled developers on my team, was unsuccessful in the challenge. According to Google Analytics  we lost most of our shoppers at the cart. We tried several fixes for this problem but we were unable to create a cart that customers felt safe entering their credit card. Finally the site was largely abandoned as it was very expensive and never provided any income to offset this. I’m anxious to run an AdWords campaign on the new site and see how this one fares in comparison.

Commercial interest is actually a small part of this sites function. Its primary job is that of promoting the different bodies of work we have done over the last few year with Foxy-Wolff, especially The Magic Box.

The show will run with almost no tagging, instead we are using QR codes to direct smart phone users to home pages for the four sections of the video. This was the reason for recategorizing the blog and for the new site in general. We chose to go with an Asian company for the QR codes that specializes in visual codes, this allows us to use our imagery in creating the codes. The first code is in, based on our logo it directs traffic to the homepage of foxywolff.com.

Visual QR Code

In addition to The Magic Box, there pages dedicated to other projects and aspects of Foxy-Wolff and individual pages for Gabe and I. A good web site is never really done, but we’re happy with the results so far. My biggest concern at this point is to direct traffic towards it, we’re hoping the QR codes help in that.


Social Media needed a tune-up once all the redevelopment was in place. We primarily use Face Book, Instagram and You Tube as our social media outlets. In addition to cleaning those pages up and updating the links, I uploaded all of our videos to the Foxy-Wolff channel, which only had links to the earliest videos and renewed our commitment to regular posting on the sites we use.

You Tube Channel: http://www.youtube.com/channel/UCor8dP1FkdrYAp6xkC9l5rw

Face Book: https://www.facebook.com/foxywolffjewelry/

Instagram: https://www.instagram.com/foxy_wolff/


At this point contacting any Foxy-Wolff page on the web should lead to all the others. We’ve unified font and cover images as well as text style and message. There is one more site coming, foxywolff.net which will be a site for other artists seeking help in adding video, web development and tech into their projects.

Building the Black Church

The design of the last set piece of the Magic Box project was immensely important to the look and feel of the entire project.  This element and accompanying video is the culmination of our learning and focus on a project over two years in the making.  While the piece must work well with all those that came before, It must also reflect the inevitable learning that accompanies work of so much duration and focus.

As with the building for “The Empty Room”,  “The Black Church” was based on a building in our home town Pueblo, Colorado, the Cathedral of the Sacred Heart. While we considered many church designs for the project, we went with the cathedral because of its classical anatomy and ties to art history, which is an important element of the last video.

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We began by photographing the building.  The main challenge in “sampling” a building like this is discovering how much of the original to stay true to and how much to simplify and modify. To help make these determinations I did an extensive series of drawings, to both see the building fully and to determine the essential elements. In the initial planning stage, before the drawings, I imagined holding a large amount of the detail, feeling that was an essential part of the beauty of the building.

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The slow and deliberate process of drawing the church again and again over a period of weeks helped me to understand the soul of the building, the essential nature of the proportion and what that communicates to those on the sidewalk or inside the structure. By the end of the drawing process I was stripping away the detail and focused on the classical structure.

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From the drawing step, our building was designed, rather than the lengthy process of constructing plaster molds for each section, a heavy watercolor paper was used. This step cut at least 4 weeks from the build which allowed the full project to be completed within the semester.

For the build I broke the structure into four sections, the front section, or Facade and narthex, was built first. This allowed the rules for construction to be set on a relatively small and simple piece and to test the scale of the building against the existing works in the series and to ensure continuity of the installation. Rather than the Laguna’s whitestone that we built the empty room house with, we returned to Laguna’s soldate, a body that we have used for years with success. This decision completely solved the major mid slab cracking issues that had been such a problem with so much of the early construction. Another modification of the build  was to  let the slabs set up several days before assembly. This let the individual units do most of their drying and shrinking before they came together which reduced the amount of stress placed on each piece.

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The second section built was the naive, this section was modified from its proportion in the original building so that we could focus the filming in this section.  Because of the size modification, the roof became problematic, columns were set into the mid center of the hall to hold a sort of half ceiling. This would serve the dual purpose of holding a multi media roof that would be constructed post firing and hide the lighting system for the enclosed structure. The decision to go without decoration or windows on the building affirmed itself as the structure grew.  The exterior and the interior were beginning to be understood as separate realms.  the exterior was to exude imposing darkness and mystery in addition to be immediately recognizable as a holy or sacred place. The interior was to evoke a cave, a hidden space not easily accessible from the outside.

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The third piece was the transept. For the long roof section of this unit a sort of joist was constructed from the side wall panel pieces.

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The last piece was the choir. This was the both the smallest and most complex of the sections.

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Once all the sections were complete, they could be placed together to make decisions about the placement and shape of the passage that would span the whole interior.

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Once the interior was opened it was coated in whitestone slip, to tie it to the earlier buildings and to enhance the cave feeling for the interior shots for filming. During construction of each section a waster slab was placed beneath to limit drying and firing stress. The building was then covered and allowed to dry over several weeks.

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Once the units were dried and fired to cone 06 they were again assembled to assess the warping that took place through the long process of clay to ceramic. While we did have markedly better results with this building, each section did move throughout this time, a solution was then sought to fill the gaps between the sections that would allow light to penetrate into the building. Several solutions were considered for this but in the end we decided on vinyl  joint compound, this substance starts very soft and plastic like clay and would dry very hard to allow the building to be handled as it moves from show to show.  The first step for this was to shrink-wrap the first and third sections so that the compound would only go on  section two and four, minimizing both handling stress and cleanup. Each section was then masked for spray paint.

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The process of application and sanding back the material had to be done through several  times before we were satisfied with the fit. The visible sides were then textured to match the ceramic.

Painting was two coats of semi-gloss black spray paint with an additional two coats of a matte clear finish, this had to be tuned up several times through the finishing as the joint compound was very messy when it had to be manipulated. The interior was largely left alone, but some of the ground bisque clay used on the interior was mixed with acrylic to cover epoxy fill and to allow the heavy texture to be picked up by the camera during filming.

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Once the surface was finished, it was then time to install the lights. small battery-powered LED’s were used, hot glued into position in the roof sections using the joint compound to hide the cord running through the walls and down through the joints into a pedestal built to house them. Initially my intent was to light the interior with fire, but having ruled this impractical from a build and display standpoint,  we opted for half flashing lights.  Though labeled as the same light, we found the flashing lights had a very different temperature from the non blinkers so I applied an acrylic wash to warm up the cooler toned lights.

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Following the placement of the lights, the god tiles were epoxyed into place since their shape and the texture of the walls would not allow them to be simply placed and stay where they needed to be.

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Gabe supplied the finishing touches to the piece, first the multi media roof was constructed of similar materials as the additions to the ceramic. His intent for the addition was that it not draw attention to itself yet compliment the overall feeling of the exterior of the building.

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All these elements unite to form what we believe is an incredibly strong piece that will anchor the gallery presence of the entire installation. The last element added was subtle decoration to the exterior of the church. Gabe executed to scale, tags in black marker around the back and sides of the building. These additions tie the piece into the overall intent and work of the studio and also reward the careful viewer looking for the details that are present throughout the installation.church tag 2church tags 1

Detail and subtlety become the focus of this object, the only one in the group with no magic boxes and aside from lights no dependence on technology. This piece becomes a resting place in the work to contemplate the various layers of meaning in the Magic Box installation and video series.

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Building the Bear Cave

The third video in  the “Magic Box” series is nearly finished, so to prepare for its release we are going back and giving a look at some of the aspects that have gone into its making. As Gabe was the lead on the cave and did the majority of the work, it seemd important for him to tell its story. Since video is his mode of expression, he put this together to detail the process of its making.

Pots for Beautiful Grotesque

We’ve been back in the studio again after a long absence for the breeding season on the farm and are starting right back in with work for an upcoming show.  We have been invited to the upcoming Beautiful Grotesque show at the Sangre de Cristo arts center in Pueblo. The show opens in October and runs through mid January. Stay tuned for information about the opening and sales.

For this body of work we chose to start with a functional form, since we worked with vases for the graffiti show covered jars seemed like the logical choice.  The jars allow for another layer of narrative to work with the content we are working with in this series. The jars are collage, using molds from several of our previous projects and from salvaged doll molds.  These images are reconfigured to suggest meanings that might relate to an ancient cultures fertility rituals.  Many of the pieces were then textured to reference deep sea salvage, creating a false timeline for the objects. They will be finished to reflect the layers of ideas.

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We used a combination of techniques for decorating the pieces, including sprigging, slip casting, buttoning, incising and sculpting.

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Though not recommended by clay makers or professionals, we are using two different bodies on pieces that incorporate slip casting.  The throwing/spriging body used is Laguna’s White Stone and the casting slip is Cashmere from New Mexico Clay. These fit together remarkably well and gave us almost no problems with attachments during shrinkage to bone-dry.

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The work as usual was very collaborative, some pieces we both touched while others were one or the other, and will be decorated as a team as well. We deliver to the gallery in late September, watch for finished pieces soon.