Foxy-Wolff and The Relics of Beautiful Grotesque

These pots are the remnants of the Myownian culture which left  no discernible written language. They were discovered in an old shipwreck site and comprise the only known relics of this lost culture. We are unsure as to the purpose of these jars, one theory holds that they are for fertility purposes but the disembodied babies also suggest that they may have been for funerary purposes. There was little else recoverable at the site.

The dark heavily textured portion of the vessels describe where they were exposed to the ravages of the sea, the barnacles and erosion have compromised the surface here and the viewer will notice a graduation of damage to the vessels that likely describes the shifting topography of the body of water in which they rested.

Foxy-Wolff has had exclusive rights to the site and is thrilled to present them to viewers for the first time in history. Each object has been painstakingly cleaned and cataloged and is available for viewing in the White Gallery  at the Sangre de Christo Arts Center in Pueblo Colorado through mid January. Don’t miss this historic exhibition.

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Myownian Ship Wreck; object #519. Hidden Watcher 6”

Myownian Ship Wreck; object #195. Twins Jar 10”

Myownian Ship Wreck; object #036. Baby Butterfly Jar 8.5”

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Myownian Ship Wreck; object #415. Baby Ring Jar 8.5”

Myownian Ship Wreck; object #382. Pony Ride Jar 9.5”

Myownian Ship Wreck; object #816. Horned Baby Jar 8.75”

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Myownian Ship Wreck; object #078. Window Baby Jar 8”

Myownian Ship Wreck; object #593. Baby Coat of Arms Jar 13.5”

Myownian Ship Wreck; object #667 Lobster Champion Jar 9.75”

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Myownian Ship Wreck; object #709. One Arm Jar 8”

Myownian Ship Wreck; object #948. Sun Baby Jar 13.5”

Myownian Ship Wreck; object #228. Bug Lord Jar 7”

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Myownian Ship Wreck; object #314. Bug Baby Jar 6”

Myownian Ship Wreck; object #682. Dragon Princess Jar

Myownian Ship Wreck; object #113. Running Unicorns Jar 6″

Featured Image:

Myownian Ship Wreck; object #065. Lg 100 Face Jar 9.5”

Myownian Ship Wreck; object #446. Baby King Jar 15”

Myownian Ship Wreck; object # 714 Sm 100 face Jar 7.5”

 

 

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.

Bird Series and Own Your Own

 

 

The Own Your Own Art Show has is in its 45th year at the Sangre de Cristo art Center.  This is my 13th year in the show.  The show features affordable fine art pieces meant for gift giving.  There is a general limit of three hundred dollars to all the work in the show which keeps it very shopper friendly.  The show has earned a wonderful following among the local and regional community.

In all my past years I have been in the show with my former husband, so for this year I wanted to bring a representation of my newer sculptural work, including the paint surface that has come to identify my work.  To fit this I chose the birds that have been the other body of work I have focused on for the past year.

The making process for these was simplified to accommodate the price limits.  The bodies are simple coil built forms with slabs added for wings and beaks.  Decoration is incised marks and a pierced heart on the chest.  There were 11 made for the show, with the large ones priced at $250.00, medium at $135.00 and small birds at $95.00.

Opening night was November 16th and was quite successful.  I sold one large and two medium pieces.  Being a gallery show I will take the typical 60% of the sales.

On the down side of the gallery arrangement was the loss of my favorite pieces due to breakage.  Rather than make a claim to the insurance I chose to pull the piece from the inventory sheet and see if it could be successfully repaired.

The other major down side of gallery work for me is the deadline pressure that has been a solid sprint since March.  In the chaos of the delivery deadline I failed to get any photos of the group until many had been sold.  A lesson I hope I inly have to learn once.

 

Working in the Hoag

 

Another aspect to having a show in the Hoag studio is the opportunity to work in the space.  This was both fun and challenging.  I worked in the gallery during its open hours, except fridays and saturdays which are taken up with teaching.

The studio was well put together, consisting of a super sturdy salvaged table, the small slab roller from my permanent studio and lots of clay and tools.  October was the shortest month in the cycle so far (from first Friday to last Monday) so my time for producing work was limited but I was diligent in being there and using my time so I actually produced quite a bit.

Originally I thought I would make a new pair of monsters to display at the second opening on the third Friday of the month, but I chose instead to work on Tengus, the crow demons that are the other consistent body of work I am involved with now.  This choice had two purposes, first, I wanted to let the monsters rest a bit and take the opportunity to listen to the work and to what people said about it.  Seeing it installed, in sequence both with the story and the time of making was a wonderful chance to review the work of the past year and take stock, consider more deeply the direction I would like the work to take in the future.  Next I wanted to play a bit with suggestions from my school critique, seeing if I could make sense of ideas I felt were compelling.This is difficult to do with the monsters them selves as the rules for their world are in some ways set.  Its not that rules cant be changed but I need a good reason to do so and also a solid direction, neither of which I felt I had.

The first piece I made was not a success.  From build to paint surface the bird is forced and stilted, Primarily I think from the pressure of making work for an audience.  Concentrated stretches of time were few and conversations were many, while this works while I am teaching, I found it much harder to produce my own work under these conditions.  That being said, the Tengu (the largest and most complex of the series) led me to the series I made for the Own Your Own show that opens Friday.  Informed by the problems I felt the large piece had, I made a series of much lighter and smaller birds for that show that turned out very well.  Those were also produced primarily in the Hoag Studio.

 

Here he is before paint.

Monster Show Opens

 

 

The first opening of the show titled “monsters” opened last Friday the 5th of October.  It was a very successful opening for me, nearly 100 people were in attendance and the work was very well received.  There was a great mix of old friends and supporters and new people just getting acquainted with the the work.  Openings for the Hoag studio go late so there was plenty of opportunity for long and intimate discussion, which makes an opening so worth while.

The stories lack of presence in the space was a challenge, and I wound up telling it more than I wished, which is good information for future shows of the work, the story must accompany the work.