Recording natural history - ”Mute Testimony”

Recording natural history

Mute Testimony.

3” X 6” X 4”

bronze

phot by Nash Baker

A fossil is our planet’s recorded history, the memoir of a life in a place, time, ecology, and evidence of global warming. It is Endangered Knowledge.

Many processes in art and the natural world lead to fossilization, including casting or mold making. I crafted a mold of a fossil that one of my children found at my son Griffin’s 8th birthday party in El Paso, Texas. It was a fossil hunting party at Cerro de Cristo Rey. (The intersection of two countries and three states, a special place.) A prehistoric relic, now a family treasure, I thought it would be meaningful to make a mold and cast it in bronze for each of my two children, a reminder of their childhood. A mold-of-a-mold a fossil-of-a-fossil. I found the redundancy poetic.

My son is now 31 years old. I have probably walked by the fossil once a day since Griffin was eight years old and did not think twice about it. Casting, it has forced me to think about the form and its value as an object of art. Evidence of aquatic life resurrected from the middle of the Chihuahuan desert— This poetic symbol of desertification will find meaningful ways to wander across disciplines into future environmental works.

Hearing, “this desert was once an ocean.” did not use to phase me. Thinking about the mineral remnant of a sea creature surfacing in one of the driest terrains in the US gives me pause; it makes me consider how we can live our urban lives and preserve natural systems.

I cast three additional fossils to share with others who are interested in natural history; two are finished in a natural patina and one in a contemporary finish — polished stainless steel.

Traces of ancient life tell story of early diversity in marine ecosystems

Stainless Steel finish changes everything 🤔 more to come

What We Think, We Become from conception to the completion.

My goal for this piece is to embody joy, celebrate life, be complex yet straightforward, and have moments of imperfection.

I will attach to the wax sculpture red wax channels (sprues) and a brown wax cup. 

Below the piece is sprued up and ready to dip. 

The dipping process builds layer by layer a ceramic shell around the sculpture and sprues. Once the Shell is built I will burnout the wax leaving a hollow cavity to pour the bronze in. 

Dip 1 Slurry only  

Final coat 24 hours after drying  

Cutting the top of the cup and drilling holes to help the expanding gases escape when the wax is burned out. 

The piece is now ready to be fired. The firing will harden the shell and melt out the wax sculpture, leaving the cavity for the bronze to be poured into. The wire sticking out will fall out when the wax is burnt out.  

We poured the bronze into the shells last night. Now that the shell is cool it is time to break it off and see how it turned out. 

the pour-

my shoulder has taken all the pounding it can. I will have to get help to finish breaking off the shell. 

In the below images all the metal work is done and the piece is ready to patina.  

Adding the white marble patina  

The Shadow of the Texas Rangers- artist statement update

As life happens, the lens we see through shifts. The lens I interpret this work through has adapted to current events. 

As a result, I am updating my artist statement. 

The Shadow of the Texas Rangers - late 1920's, The Texas Rangers in Fabens, Texas (a suburb of El Paso).  During prohibition, the Texas Rangers traveled to the Texas/Mexico border, to deter the smuggling of illegally distilled alcohol. While on the border, they boarded in my grandparent's home; they became family friends.   My reference photo for these drawings of the Rangers hung in my Grandparent’s home. As a child in the 60’s the photo always intrigued me. I was in awe of the well-heeled, respected law officials confidently posed in front of the rugged mountain and their curiously shaped shadows. I wondered why Granny Gene had a photo of the mythical cowboys and their rifles.

My father did not remember much about the Rangers; ironically, he did remember having a house full of thirsty Texas Rangers and accompanying his father to the edge of the Rio Grande River. His father would leave cash under a rock, the next day a bootlegger from Mexico would wade across the river on a mule, retrieve the compensation and place bottles of booze in the hole under the rock. This is when the term ”mule” surfaced. 

The proud history of the Texas Rangers I grew up with has suffered from stories of abuses of power. In the historical photo, the overpowering southwestern sun reveals the dark shadows that tarnish the Rangers’ reputations. 

Looking at this image today, through the experiences of 2020, the focus rests heavily on the dark shadows in law enforcement. Unfortunately, the deplorable actions of a few can ruin the reputation of a group. In this drawing, there is a balance of light and dark. It is important to remember history as it was experienced by the people living at the time but it is also important not to turn a blind eye to the dark side of our history. Finding this balance is where we are in 2020. It is time that we hold law enforcement to higher standards and that they find ways to police their own. 

There is more good than bad. If you look for it, you will find it. The only reliable way to instill change is to lead by example and to recognize and celebrate those who are doing it right. 

what we think we become

I started this piece 1 1/2 years ago but neglected to have it photographed until this week. Seeing it through the photographer’s eye, it has an additional layer of meaning in 8/2020.

Originally it was a maquette for a memorial piece. We ended up going a different path for the memoriam. Personally I was happy this piece emerged from the event and cast it in bronze. It resonates with me because years ago I became fascinated, completely sucked in by modern neurology. Neurology was my obsession. I read everything a Mom could get her hands on. My favorite was Phantoms in the Brain by V. S. Ramachandran. The brain is amazing and especially since neurologists have learned that it is plastic and is changed with everything you do, everything you tell yourself or others tell you changes your brain. This knowledge is what gives every human a chance for hope. Dreaming is the first step, and self-talk is hugely important. You can control how you see the world, and how you see yourself, “fake it until you make it works“. What you think you will become”.

The additional layer - living through a pandemic is choosing how one reacts to stressful and depressing situations. Humans choose how we react and how we see. “what you think you will become”. The texture of the piece is composed of repetitive arched lines, they are mirrored in the profiles/contours of the work. It is an abstract sculpture but I clearly read “what we think we become”. What we look for we will find, 8/2020 is a good time to control your thoughts and look for the light. If you look for it you will find it.

“what you think you become”

bronze

12” X 4” X 3”

Working style philosophy

Range by David Epstein - in my mind is a must-read for any artist, creative writer, inventor, scientist moms or anyone who solves problems.

https://pepperdine-graphic.com/book-review-lessons-for-higher-education-in-david-epsteins-range/

”Everyone needs habits of mind that dance across disciplines.”
- D. Epstein

“Habits of mind that dance across disciplines-“ - D. Epstein

I love that quote; it sums up how I think and supports how I am driven to work. Several times during studio visits with people that are in the art world and that I have tremendous respect for, they advised me that I should focus on one thing, one media to work in, or one subject. It helps in branding. It also allows for intense and thorough investigations in an area. It is a smart way to go. I understand what they are saying. It is a lot easier to market art made out of one media or maybe two different medias. It allows you to be recognized by the work.

If I were 20 years old and created art for financial gain- to eat and pay my rent, I would 100% take the advice. Since I am 63 years old and after years of working long hours (not in a visual field), I now have the luxury of knowing where my next meal is coming. Branding is smart, but it is not what interests me about making art. The creativity, the making of, and the message of are what inspire me. The freedom to be creative and not have to worry about the marketability, durability, or popularity of size, material and color allows me to do work that is important to me, with materials that speak to the issues that keep me up at night or move me. It is a luxury not to have financial pressures. Having this luxury, I feel responsible for using the freedom I am afforded to do work that will help create a better world. It does not mean I can’t have fun with it. I love making and feeling passionate.

I have many interests, and I try to be open to new ideas. I believe creativity comes with exposure to life’s experiences, both good and bad, and life’s failures. I often try to break the rules set out by those who came before me regarding creating, and looking for new ways to find my voice. It comes from the willingness to try new things, ”to grasp further than my reach.” -Browning?

Every new idea I have, I first think if it should be expressed 2D or 3D or both. I have to consider the problems that will arise. I have to look far enough to solve the next problem, but not so far ahead that it is daunting. That is a fine line. Reading Range confirmed my beliefs and uncovered even more justifications for staying focused on my path of diversity. . There are connections in my creative wanderings, they are not as visible as using one media or one subject, but they are there for those that take the time to look and think. Good or bad, this is how I need to create. Maybe someday, but for now, I do not want to shift my mindset. I want to keep expanding my visual and sculptural vocabulary. I want to look for ways to interleave my work, create more mental schemes, broaden my thinking, think outside my experiences.

I am naive enough to hope that one-day, art historians, and or critics will see the connections in my work and maybe be glad I didn’t do one thing. Until then I have to figure out where to keep all this work.

My studio July 2020

I took time this weekend to photograph my studio- just for the memories. I never dreamed I would have an art studio.

One of the ppleasures of having a studio, Is it provides a space to meet with other artists, friends, and art lover acquaintances and get their reactions to my work? Everyone perceives art differently, and it is incredibly beneficial to get feedback from a variety of folks.

Endangered Knowledge: The Soul of Humus #15

Another day of building the bone structure of the face. The armature is more detailed than the sculpture will be. As I work I remind myself that the armature just needs to support the masses of dried mud and dried grass. It will not be visible under the herbaceous skin. I can’t seem to stop myself. I think it make me feel closer, more connect to the bison.

It also keeps me away from the news- COVID 19.

Today I worked on the lower part of it's cheekbones and then I added a rear jawbone.

Looking up the mouth and nose of head minus the lower jaw.

The old guys face left side

Looking through the skull

The right profile.

On the Road to Roam

January 19, 2020

We are on the road to Roam, and I am feeling a little concerned. I believe that we as a society are not connected to the raising/producing, culling, and processing of our food. With this disconnect, what is essential has been lost. This not only impacts our health but also our environment (including the bees) that we are borrowing from future generations. It is easy to be judgmental and to point fingers. If I am going to judge our current food production system, I need to experience the process that I believe is a healthy and responsible alternative. I need to be willing not only to talk the talk but walk the walk. Thursday, Curtis, and worked Roam’s Bison Roundup. We were nicknamed the gatekeepers. One female, after careful and thoughtful analysis, was selected to be culled today. This is not going to be easy, but I will be a better human from the experience......... on the road to Roam.

Opening the car door the last thing I hear on the radio is, ”everything is dust in the wind, ” for one second I find comfort in these words.

The ranch Anatolian livestock guard dogs greet us at the ranch entrance.

The herd including the cow to be culled having a relaxing morning grazing on Texas prairie grasses. The cow in question will not be separated from the herd, she will not be stressed and will not feel any pain. This is how you humanely harvest an animal. This is not how industrial Agriculture harvests meat.

That explained it is a heavy feeling knowing that a life is being sacrificed. Being aware of what is being lost in order to put a high quality protein on the table makes every ounce of meat more valuable. Nothing should be wasted. The experience changes how we value animal protein.

I participated for two reasons; personal growth through awareness and a deeper knowledge for a body of work whose concept I am working on called Giving the Bird.

Endangered Knowledge: Soul of Humus #17

I started the lower jaw today. I spent the majority of the day researching the structure of the lower jaw and its movement as the bison chew.

Here is a collection of my reference material.

Bison grab a tuft of grass with their tongue, then they pinch it off by pressing it between their tongue and their front lower teeth. They do not have top front teeth. They then swallow it whole. That is the beginning of a 24-hour digestive process.

I love this image, I took it last January at Roam Ranch right before the roundup. I think this is the one they call Poppy. Poppy is very curious and friendly. She is checking me out as she catches rain drops on her tongue.

You can see the lower jaw through the upper jaw here. It is slightly off to the right of the bison. I want him chewing away and want to exaggerate the movement. I will probably bend it a little more askew this weekend.

Here the chewing lower jaw is more obvious.

View from the rear or top down.

Friday, I am committing to writing the Lawndale proposal- rewriting and rewriting and rewriting.

Faux bois Wedding gift ❤️❤️#17

I needed to make some new concrete sculpting tools. I cut the bristles from a dog brush and glued them to the handle from a sponge 🤞

The small bronze root left a stain on the seat. Oops. I expect I can grind it out.

Work work work

Endangered Knowledge: The Soul of Humus #14

I am getting close to finishing the head and upper jaw. The next step will be to create the lower jaw, then I will put the head aside and start building up the piece from the hooves.

More work on the cheekbones and connecting the horns to the eyes.

Side view of armature

Bottom side view

Bison's left side view

Back of head looking down

For the full story see Endangered Knowledge: The Soul of Humus #1a

Endangered Knowledge: The Soul of Humus #13

View l from the mouth

The cheekbones are added.

For the full story see Endangered Knowledge: The Soul of Humus

Endangered Knowledge: The Soul of Humus #12

My favorite measuring tool when building the armature is a sewing tape measure.

For the full story see Endangered Knowledge: The Soul of Humus

Endangered Knowledge: The Soul of Humus - #11 head

The head is a lot of detail work. Bending small pieces of steel takes time and strength. It is easy to bend large pieces of steel because I can use leverage to bend it. Small parts are too short To get much lecerage. This is the first time in my life strength is an issue., I have not been doing my regular weight lifting due to COVID 19 quarantine. So I have to think of creative ways to make the shapes I need. It takes longer to figure out.

Examining this work I have decided I need to raise the left horn.

I have only welded the horn in one location. This will make it easier to correctly position the horn once the head is connected to the body. I can find them if I want, or I can cut the one weld and resend them in the correct position.

I moved the horn and added the front of the upper jaw.

I added the back of the upper jaw and two pieces to stabilize the head. The stabilizing pieces run through the center of the head, the length of the face to the back If the skull. I used the angle grinder to separate the front and left sides of the front jaw separating the two stabilizing pieces. This will make it easier to make any adjustments in the head structure when it is finished and attached to the body.

The skin and coat of the finished piece is the most crucial part if this piece. This steel armature is purely structural.

For the full story see Endangered Knowledge: The Soul of Humus

Endangered Knowledge: The Soul of Humus - #10 head

I have cut the steel for two sets of horns, the center of the face, top of the scull and part of the nisee. .

Working on the horns

This bison skull was a Christmas present. From Griffin and Alex my son and daughter in law. They have been unbelievably supportive of my environmental works. They are the best. The skull is proving extremely helpful in figuring out how to build the head armature.

For the Full story see Endangered Knowledge: The Soul of Humus

Endangered Knowledge: The Soul of Humus - #4 reference images.

When I start to build a new piece the first thing I do is gather and organize all the reference images and information I am going to need.

I staple all the images to a piece of cardboard. This way it us easy to see as I work. This secti n focuses on the hoofs. I am starting with the hoofs.

For the full story see Endangered Knowledge: The Soul of Humus

Endangered Knowledge: The Soul of Humus - #8 Hooves

One of the most critical problems to solve is the placement of the hooves. They will be welded to Steel plates that act as the base. The base serves several purposes; it will make it easier to transport the piece without damaging it, it will make working on a large piece safer and less likely to fall on me. I am going to use 4 - 14” X 14” 1/4” steele plates. One for each hoove. This will give me the flexibility to adjust the placement of the hooves as the piece develops.

I am sending the hooves to Blumenthal metal and having them weld the hooves to the plates. It is tricky welding to a thin plate and not warping the plate.

Why is this important to me? Please see Endangered Knowledge: The Soul of Humus

Lawndale Art Center - support image

It does not stand to reason that gardens or yards in Texas, Maryland, California, Iowa, and Illinois should all be landscaped with the same selection of plants. The below image from Native Texas Gardens says it all. In a country with great diversity from coast to coast, shouldn’t the sculpture garden landscapes be embedded in plants that define the place?

It will be more interesting to see sculptures in gardens of indigenous plants, plants that define the place, terrains that have attracted its people and impacted its economy. A sculpture of a boat marooned in a desert landscape might imply global warming and the same wooden vessel docked in a sea of woody pines congers up thoughts of concervation. one thing the same boat Sculpture changes across geography. What does sculpture look like in a coastal prairie sculpture garden?

Page xviv of Native Texas Gardens, maximum beauty, minimum upkeep by Sally and Andy Wasowski.

Endangered Knowledge: The Soul of Humus - #6 Hooves

I am spending a lot of time looking at and thinking about the bison's hoof. Bison are ungulates. Their two toed hooves are a cross between a spade and two chisels. With the weight of their massive bodies their hooves cut into the soil, churn it up, break clumps, and create pockets that hold moisture. They trample old vegetation into the ground a long with the 40 lbs of waste they create everyday. They have a two pronged tools on each leg that tills and cultivates 24/7. And then you put them in a herd and they are mother nature's industrial farmer.

Image from bob the bison used at epic food conferences

Image from under the shoot at the roundup

Image from the harvest

the back story Endangered Knowledge: The Soul of Humus

Endangered Knowledge: The Soul of Humus - #5 the welding begins

I am starting to design and build the armature (the support structure) of the piece. The structure will be supported with welded rebar and then covered in a steel lath to help hold the mud and dried native plants to the sculpture.

I begin with the hooves It takes a lot of muscle to bend a piece of rebar enough to make a complete hoof side, I will have to piece it.

I did not measure the circumference of a hoof but I do know the ankle is 12” and hoofs are bigger.

I think best in wire or a material I can shape by hand - by feel. I decided to wrestle up a wire sketch of a hoof to get me started.

The front part of a front hoof

Front hooves started