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.

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

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 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.

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

The front part of a front hoof

Front hooves started

Front hooves started

Endangered Knowledge: The Soul of Humus - #2 A closer look at the materials I have so far.

I am in love with these textures and I can hardly wait to incorporate them into my Endangered Knowledge piece. I do need to figure out how to fade the green out. I do not want a green bison. I think the answer is sunlight.

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Faux bois Wedding gift ❤️❤️#20

The hard work is done. I did a little sanding on the seat so it won’t snag anyone clothes and then I was able to get some help moving it to a place where I can stand back and look at the work.

Front and reflection in the pond

Front and reflection in the pond

Back view

Back view

Bronze

Bronze

Lovebirds back

Lovebirds back

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Left side view

Left side view

Left back leg

Left back leg

Back right leg

Back right leg

Another view of the back right legs

Another view of the back right legs

Back right view of right legs

Back right view of right legs

Back branch

Back branch

Back left where back branches and legs connect

Back left where back branches and legs connect

Front right legs - I love their hug

Front right legs - I love their hug

the seat texture

the seat texture

A piece of metal that was in my Dad’s ashes and his last name - Travis carved to the right of the metal bolt. I am guessing it is from one of his four hip replacements.

A piece of metal that was in my Dad’s ashes and his last name - Travis carved to the right of the metal bolt. I am guessing it is from one of his four hip replacements.

Griffin and Alex after their vows. - the lovebirds January 3, 2018

Griffin and Alex after their vows. - the lovebirds January 3, 2018

They will be in Houston for two weeks for Sage and Cameron Cuenods legal wedding vows June 12, 2020.

I Am looking forward to showing it to them. And I would like their opinion regarding a stain/patina.

Endangered Knowledge: The Soul of Humus #1a and Sculpture Month Houston

In a moment of global uncertainty, I ask myself, what materials would I use to leave a message for future civilizations? As I think of artists who painted caves, of muralists from the past, of artifacts from ancient civilizations, I am curious about how we leave a mark. My answer is tied to the natural world: much of my previous work has been about conservation issues, looking specifically at bees, at waterways, at recovery from Hurricane Harvey, at bison and now, at grass. And so, if I were to write a message to the future, I would use grass to write it, and bison to carry the message.

 

Endangered Knowledge: The Soul of Humus

 

For this year's Sculpture Month, I propose a site-specific sculpture of a bison, made from a welded steel armature, a work of land art covered in topsoil and dried native grasses. This is part of a comprehensive installation that I am currently developing, which considers the role of the American bison within Houston's specific soil ecological history. The work is titled Endangered Knowledge: The Soul of Humus.

 

It is inspired by the words of M. Thomashow, who writes, "Record natural history to the collective memory so that it is no longer endangered knowledge." For several years, I have been researching grass-fed food production, attending soil conferences, and visiting regenerative ranches. Research in these fields show how to fight desertification and reverse climate change through regenerative agriculture practices. Interestingly, this natural history of living soil, how it evolved in the Houston Coastal Prairie, and its essential part within microbial communities in human health, is not common knowledge. 

 

Description of Work

In the hide of a sculpture, I tell the narrative of soil health. My sculpture will record this endangered natural history through the dense coat of the powerful humus-built bison, that will be dripping in the armor of locally sourced dried native grasses and sedges, seeds, and pods. The male bison will be supported by a welded steel armature, covered in a stainless-steel lath. The bison's skin, made from these dried grasses, will be attached to the lath with a Houston mud composite. I propose the 11' long bison be exhibited in the center of a large grain silo, the bison in an actively grazing stance, head down in plow position, his hump rising robust and bushy out of his heavy forequarters to 6.5' tall. Lighted from inside the grain silo funnel, viewers can approach the bison and intimately inspect the diversity of the native plants implanted in its pelt.

 

Ecological History

Historically B. bison functioned as the first farm equipment. The grass seeds clinging to their burly coats were carried across the plains as they migrated north to south and back between seasons, like tractors up and down fields. Herds of tractors not green, but a rich brown harvested the plains with their appetites, each bite stimulating new root growth. The old roots withered into cavities that served as dwellings for a variety of keystone species, and became underground cisterns collecting floodwaters for drier seasons. Their coats dropped kernels and cuttings as the winds ruffled their beards and chaps, and when they took dirt baths in buffalo wallows dug with their horns. Massive roaming compostors, a single bison cow daily dumping 40 lbs. of fresh manure onto these seeds and drilling them into the earth with their spade-like hooves, sprinkling them with the perfect prescription of nitrogen, phosphorus, and potassium-rich urine and then moving in a predator safe tight herd on to the next buffet. With time the newly sowed fields sprouted new growth of blades, stems, and leaves of countless shapes, sizes, and heights. This diversity of leaves fit like puzzle pieces into dense living solar blankets, harnessing carbon from the air and returning it as sugars to feed the dynamic root microbiomes below the earth’s skin. The complicated relationship between the soil microbiome and the human intestinal microbiome is one of the most dynamic topics in biomedical research.  Flocks of birds mutualistically

living off the pests harbored on the bison followed the herds, drinking from and bathing in rainwaters that collected in the bison wallows, building their nests from clumps of bison fur. Recent studies show the fur provides a health benefit to unborn chicks. Bird and butterfly habitats were abundant when the bison roamed.

Relevance

Global warming, food security, drought/flooding, wildlife habitats, economic instability, and health – these problems are not new to humankind. The archeology of ancient civilizations has recorded connections between the longevity of civilizations and the health of their soil. The United Nations reported in 2014 that the world's topsoil would only last 60 more growing seasons. Soil scientists around the globe agree that solutions to these issues are rooted in our treatment of soil—the skin that covers our planet.

 

Message to the Future

The armor that protects the epidermis in the Gulf Coast prairie is grass. The animal whose population peaked at 30 million, is B. Bison. Combine native grasses with ruminants and the grasslands decompose into rich organic matter; for every 1% increase per acre of biological organic material, the soil can hold an additional 20,000 gallons of water. Restoring native prairie vegetation decreases water runoff and flooding, increasing soil absorption of water and slowing floodwaters on land. With extreme building practices and concrete hardscaping, reimagining the landscape of Houston's 600 square miles of real estate can make a significant impact on the region’s flooding. The prairie grasses' roots can extend from eight to fourteen feet deep: these roots sequester carbon like an upside-down rainforest. Changing our agricultural practices is an important step towards turning global warming right side up. Telling the dynamic story about these relationships between the grazing herds, the living soil, and finding ways to reimagine urban landscapes and agricultural practices in holistic and regenerative ways are the center of my current research and sculptural practice.

 

The impact of the bison on sustaining topsoil—and, therefore, life—need not be Endangered Knowledge. The role bison play within the prairie ecosystem—their ability to increase photosynthesis, reduce competition for water, and regenerate depleted, unsalvageable, lifeless prairies back to productive and bountiful, nutrient-producing land and wildlife habitats—needs to be carved into our modern systems. Recording this Endangered Knowledge into the consciousness of humankind will stimulate grassroots efforts and stop the cultivation of soil depletion and return the natural process to the treatment of the skin of our planet. A Parietal artist in 2020, I will use grass to record the Soul of Humus so that it will no longer be Endangered Knowledge.

 

Additional work

Soul of Humus will be the first piece in my Endangered Knowledge body of work. The complete body of work will eventually consist of the following sculptures: 4 pedestal-shaped sculptures of roots and soil, measuring approximately 12" X 12" X 36"; installations made from native grasses and their roots (size and number to be determined); 1-5 bronze castings of bison dung with their spade-shaped hoof prints, dung beetles, and mushrooms. I am also currently in conversation with a bison rancher to secure a bison heart to float in a glass case of formaldehyde: the bison, the largest mammal of the western continent, is the heart of our soil diversity, it is the western symbol of a healthy planet. The health and longevity of civilization, as we know it, is dependent on finding ways to mimic the natural process stampeded into the bayous of Houston. In this sculptural series, I look closely at the components of this process and the environmental interrelationships unique to the Houston area and world health. 

 

Footnote-

Bison vs Buffalo which name is correct? The common name Buffalo has been widely used, since early settlers were naming them as their European and Asian counterparts. The correct name of the last American surviving bison is B. Bison.

 

Further Reading and information –

- Allan Savory on how to fight desertification and reverse climate change

Soil as Carbon Storehouse: New Weapon in Climate Fight? - Yale E360

- A Prehistory of Houston and Southeast Texas,– D. Worrall, coming fall 2020

- Can Livestock Grazing Stop Desertification?

                   https://www.scientificamerican.com/article/can-livestock-grazing-stop-desertification/

- Dirt: The Erosion of Civilizations, by David R. Montgomery

- Soil Biology and Land Management https://www.nrcs.usda.gov/Internet/FSE_DOCUMENTS/nrcs142p2_052489.pdf

- Bison Eating Habits

- Wildlife that Depend on Bison

 

 

 

Sample Work and Visual Support Materials for Proposed Sculpture

 

Two small sculptures that are made with the same structure, process, and made with native plants-

The bison will be furrier than these small birds are and would be dripping in a thick coat of textured dried grasses.

Hay Day Peace Pigeon 201615” X 12” X 8”welded steel armature, plaster and hay

Hay Day Peace Pigeon 2016

15” X 12” X 8”

welded steel armature, plaster and hay

 

Feathery Finery Peace Pigeon 201612” X 12” X 6”steel armature, steel lath, plaster and plants

Feathery Finery Peace Pigeon 2016

12” X 12” X 6”

steel armature, steel lath, plaster and plants

Three large sculptures that are made with the same armature and process, but I have used metal instead of dried plant cuttings  on the surface for texture.

Broken 201840” X 29” X 55”Welded steel armature, stainless steel lath, concrete, wire cloths and wire

Broken 2018

40” X 29” X 55”

Welded steel armature, stainless steel lath, concrete, wire cloths and wire

Sonata in 4D 20186’6” X 5’5” X 5’steel welded armature, stainless steel lath, plaster, wire cloths and wire

Sonata in 4D 2018

6’6” X 5’5” X 5’

steel welded armature, stainless steel lath, plaster, wire cloths and wire

Bringing Home the Bacon 201966” X 42” 60”welded steel armature, stainless steel lath, hydro stoner, wire cloths and wire

Bringing Home the Bacon 2019

66” X 42” 60”

welded steel armature, stainless steel lath, hydro stoner, wire cloths and wire

There are many textures of native grasses at the Katy Prairie Conservancy and Buffalo Bayou.

If you accept my proposal, I plan on asking the Katy Prairie Conservancy and the Buffalo Bayou Partnership to allow me to source my grasses and plants from their properties.

Sample of one of the many amazing textures on the various grasses and plants in the coastal prairies.

Sample of one of the many amazing textures on the various grasses and plants in the coastal prairies.

This shows the movement I am visualizing on the coat of the Bison

This shows the movement I am visualizing on the coat of the Bison

Below are Some of the source images I will use while sculpting the bison.

 most of these I took doing research at Roam Ranch this summer, fall and winter.

This shows the position of the head I am looking for, it is grazing but you can see the face. This is a cow (female) My piece will be a burly big old male.

This shows the position of the head I am looking for, it is grazing but you can see the face. This is a cow (female) My piece will be a burly big old male.

This is a large bull but it is not very old. My sculpture will be an old male that will have scrapped up and chipped horns from fighting and digging wallows and a massive thick (and dripping with dried grasses) big beard and chaps. This side view is…

This is a large bull but it is not very old. My sculpture will be an old male that will have scrapped up and chipped horns from fighting and digging wallows and a massive thick (and dripping with dried grasses) big beard and chaps. This side view is pretty close to what I have in my head. I might have his head turned slightly to one side. That could be determined by which side of the building the silo would be on. The face will be more interesting and textured than the back side of the bison will be. My sculpture would be grazing on taller grasses. I would also raise his head for more eye contact

This is a good image of a bull’s face. Not my photo.

This is a good image of a bull’s face. Not my photo.

another view- not my image

another view- not my image

Faux bois Wedding gift ❤️❤️#15

Today I poured 30 lbs. of white concrete and 29.5 lbs. of grey Portland for the seat. In the mix was .5 lbs. of the ashes of Robert Ira Travis, my dad. He was born on December 10, 1927 he passed away March 24, 2018. When I measured out the ashes thIs small metal piece was in his ashes. I think it must have been part of one of his four hip replacements or two knee replacements. It was like finding the toy in a box of cracker jacks. I think Griffin and Alex will enjoy it embedded in their piece.

Bolt, name and ashes of R.I. Travis.

Bolt, name and ashes of R.I. Travis.

I used the white concrete to create motion in the old wood.

I used the white concrete to create motion in the old wood.

I went a little crazy

I went a little crazy

The seat has lots of rings from burls in the plank. Griffin and Alex love bugs and mushrooms (the fruit of fungi) both of which cause burls. The seat of their bench is riddled with big burls.

A sweet knot with some severe old wood cracks.

A sweet knot with some severe old wood cracks.

Once the piece hydrates for 5 days I will take a sander and smooth down the seat.

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I gave the birds a knot to perch on.

I gave the birds a knot to perch on.

Another view of Bob Pa’s moment in the bench.

Another view of Bob Pa’s moment in the bench.

Every few hours I check on the marks to make sure they have not filled in. There is a lot of concrete on the seat and the white concrete is taking a long time to set.

Faux bois Wedding gift ❤️❤️#14

I was not happy with the results of last Thursday's work on the upper branches. The concrete was not sticking to the scratch coat. Afterwards I went through the past blog posts for this piece and this is not the first time I have had trouble with the cement sticking. I made note that the liquid part of the concrete mix was too old. Good to know, the best part of a blog is the documentation of the work. As a result of the old liquid the branches ended up lacking detail. That is what happens when one takes multiple year's to finish one project. Today's work looks better. It does have it's share of wormholes and I love wormholes. I am a sucker for any piece of old wood eaten up by worms. That is the beauty of old wood.

Wormholes and knots

Wormholes and knots

Below is a photo journal of the process.

Mixing the wet part of the concrete mix.

Mixing the wet part of the concrete mix.

Mixing concrete is very similar to baking, you have to measure every ingredient precisely and mix them in the correct order.

A sound concrete mixer is a must; hand-mixing concrete is just too physical. I love this machine. Behind the mixer you can see roots for future bronze pieces drying on the plant trellis

A sound concrete mixer is a must; hand-mixing concrete is just too physical. I love this machine. Behind the mixer you can see roots for future bronze pieces drying on the plant trellis

Fifteen minutes of mixing the dry ingredients.

Fifteen minutes of mixing the dry ingredients.

While I wait for the dry ingredients to mix I paint a bonding agent onto the scratch coat.

While I wait for the dry ingredients to mix I paint a bonding agent onto the scratch coat.

A close up of the white bonding agent after application.

A close up of the white bonding agent after application.

All branches are coated with the bonding agent and drying while I check on the cement mixer.

All branches are coated with the bonding agent and drying while I check on the cement mixer.

When you look closely you can see the fibers I put in the concrete last week. The fiberglass fibers help the new layers of concrete bind to the last coat.

When you look closely you can see the fibers I put in the concrete last week. The fiberglass fibers help the new layers of concrete bind to the last coat.

Just like in baking, you pour just a little wet ingredients in the middle of the dry ingredients.

Just like in baking, you pour just a little wet ingredients in the middle of the dry ingredients.

I clip a cardboard door to the mixer, to keep the dust down.

I clip a cardboard door to the mixer, to keep the dust down.

The mixer kicks up a lot of dust.Even before ppe was a thing, I wore a respirator and a head covering when mixing cincrete. There is nothing like shampooing concrete dust out of your hair.

The mixer kicks up a lot of dust.

Even before ppe was a thing, I wore a respirator and a head covering when mixing cincrete. There is nothing like shampooing concrete dust out of your hair.

Here the mix is starting to stick together and make marble and golf size balls. Ut us about 1/2 way ready.

Here the mix is starting to stick together and make marble and golf size balls. Ut us about 1/2 way ready.

Ready to start applying the concrete to the branches.

Ready to start applying the concrete to the branches.

First, I mix a little concrete with the white bonding agent and make a slurry. I paint the slurry mud into the branches to help the first coat stick. Then I wait for it to get tacky.

First, I mix a little concrete with the white bonding agent and make a slurry. I paint the slurry mud into the branches to help the first coat stick. Then I wait for it to get tacky.

Another detail look. Some of the fibers from the prior coat are still sticking out. That is ok, when I am finished I will take a small torch Abd burn them off.

Another detail look. Some of the fibers from the prior coat are still sticking out. That is ok, when I am finished I will take a small torch Abd burn them off.

My hydrating tent is getting a bit caddy campus.

My hydrating tent is getting a bit caddy campus.

Five more days of hydrating and then I pour the cement for the seat.

Sculpture Month Houston

In May I started seeking a space to exhibit new environmental, 4D kinetic sculptures. I hoped to use this new work as a start to an art installation inspiring conversations about topics I am very passionate about; the unexpected consequences of forcing natural processes into an industrial model and the complex relationships between humans, plants, and animals. 

The stars aligned in July when Sculpture Month Houston’s founder and curator, Volker Eisele, invited me to be one of the 19 artists asked to create a site-specific sculpture in the historic Success Rice Grain Silos behind the Sawyer yard’s artist studios. In the 50th anniversary year of man landing on the moon, this year’s exhibit title is Outta Space from the 2012 Van Halen album A Different Kind of Truth. Outta Space will combine two curatorial themes: one features work focused on environmental degradation issues and the other focuses on interpretations and explorations of Alternative Worlds as envisioned in the fantasies of the artists. 

I have passionately committed myself to this installation every day since July. My passion comes from spending my early years on a farm in west Texas, from my concerns regarding industrialized food and its effect on our health, from my love for historic buildings and, most importantly, from my desire to make an impact on the return of our most important keystone species. 

As a site specific installation artist my aspiration is to create a piece that is unique to the silo’s space and true to my work. My silo is a circular space constructed from cinder blocks, 18’ in diameter and spans 20’ in height. It has, in the center of the space a 10’ tall funnel suspended from the ceiling. There are a few old, large light fixtures, conduit runs vertical and perpendicular on the walls and there are three entrances to the space. I have three weeks to install the work that I have assembled to date. My mantra as an artist is “if I am not nervous to take on a new project then I am not stretching myself”. I am slightly anxious, yet happy to embrace the butterflies and honored to have my name listed among this year’s SMH artists.

In celebration of the opening there will be food trucks, a bar and music provided by Chapel In The Sky with projections by Michael Walrond - SHDWSOFDUST. 

OUTTA SPACE

Public Opening for the Exhibition 

Saturday, October 12, 6-9 pm

SITE Gallery Houston, 

1502 Sawyer St. Houston, TX 77007

(The multi-story building behind the artist studios facility).

https://glasstire.com/2016/11/04/the-problems-and-rewards-of-houstons-silos/

https://glasstire.com/2017/10/30/a-conversation-about-art-and-the-silos-on-sawyer/

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Hurricane Harvey Heroes- LIVEstock- “bringing home the bacon” The inspiration?

He is one big pig, the beloved family pet that had to be hoisted upstairs to save him from drowning in the flood waters of Harvey. The idea of saving a pig was inspired by a YouTube video posted by a young family in Conroe, Texas. I hope you see in the figure not only the strength it takes to lift up a frightened squirming pig but also the determination that the figure has not to let the family’s favorite pet parish. The pig twist and turns  while straining his back legs straight out trying to reach the ground. 

photo by Nash Baker 

Bringing home the bacon

Bringing home the bacon

66” X 42” 60”

Steel, stainless steel lath, plaster, hydro stone, wire mesh, screen and cloth, and baling wire. 

the next pig post -  why a pig?

Hurricane Harvey Heroes- LIVEstock- “bringing home the bacon” why a pig?

Why a pig?  We humans have a lot in common with pigs. We're both omnivorous mammals that gain weight easily and are susceptible to the flu. We share 98% of the same DNA.

Photo graph by Nash Baker  66” X 42” 60”

Photo graph by Nash Baker 

66” X 42” 60”

Pigs are somewhat domestic (if you don’t believe me, check out @esterthewonderpig on Instagram).  In addition they are on rural, commercial, and regenerative hog farms. They are incredibly smart and very clean animals.

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2019 is the year of the pig. Pigs symbolize prosperity, wealth and abundance. Having a fattened up pig brings good luck. The Pig is thought to bring luck to farmers as it brings in a good crop.

The pig is very powerful and brings all good things.  They are a very laid back animal they do not readily attack or anger.

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They have been known to overindulge and can weigh  an average of around 700 lbs. They are also often adored characters in nursery rhymes, children’s stories and tv shows as well as a variety of sitcoms. Miss Piggy, Porky Pig, Piglet, Timon and Pumbaa, Petunia Pig, The three little pigs, This little piggy went to the Market, Old Major, and Babe. I could go on and on. 

A pig checks a lot of boxes that I feel a lot of people can relate to.

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From a personal stand point, my brothers had a couple of pigs on our farm in Dell City. I was very young and can barely remember them. I do remember something about my oldest brother’s, Bob Travis Jr.’s, pig drowning. I am not sure how. It was not a flood because Dell City is in the middle of the desert. When we were teenagers and living in the city, my brother, Dean Travis, was riding his motorcycle in the desert checking his beehives and found a piglet lost in the desert. The piglet had gotten his head stuck in a paint can. I can still remember Dean pulling into the driveway on his motorcycle with the poor squealing piglet tucked under his arm with its head still stuck in the can. He lived in our backyard that summer.

 

In the early 2000s, we lived in New Orleans, Louisiana. There is a nice size Vietnamese population in New Orleans and a fair amount of Vietnamese pot bellied pigs. A family that went to my children’s school had a miniature Vietnamese pot bellied pig. The mom used to walk him to school on a leash when she picked her kids up at 2:45. My daughter, Sage, did everything in her power to convince  me to buy her one. We already had two dogs, 2 birds, several frogs, turtles, fish and snakes. She finally quit asking when we learned they could not bend their knees to climb steps. Our home was on a small uptown lot with lots and lots of stairs. The pig would have to stay outside and we would want it to be part of our family. 

If anyone has a great pig family pet, urban or rural, please share stories and pictures. I would love to hear and see them.

Most importantly I hope this piece can bring a little good luck and good fortune to the people who are still suffering the wrath of Harvey. 

 


Hurricane Harvey - sculpture day 37 “bringing home the bacon”

Photographer Nash Baker getting the lighting just right before we take the piece of the pedestal. 

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Hurricane Harvey - sculpture day 36 “bringing home the bacon”

Each piece is sewn onto the sculpture with a piece of wire in at least three places. It is slow meticulous work. It is a meditation. I have to really slow down and look very carefully for the best places to connect each piece to the sculpture. The wires used to attach the pieces can not look functional. The connections have to be hidden. My goal is to keep the water light and moving. Harvey was all about the water. 

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