I’m busy in the studio making spaceships and planetessimals from repurposed plastic and fabric. Ultima Thule is just around the corner!
Once I get a firm date for this new show I’ll post about it asap. It’s a collaborative installation known as KSpace with participatory workshops and other fun stuff. I like taking a break from representation sometimes….unless there happens to be a fur-covered planet just like this somewhere in the multiverse.
My semi-abstract, direct-fired sculpture “Yellow Inside” will be in the 10th biennial State of Clay exhibit at the Lexington (Mass) Arts and Crafts Society, opening in May. stateofclay
My small study of Louisa May Alcott is a part of Habitat for Humanity’s Fundraising Auction. All art in the auction is also on view at 6 Bridges Gallery (77 Main Street, Maynard MA)
Take a look and bid! All proceeds go to Habitat for Humanity of North Central Massachusetts.
I gave a talk to the Friends of the Melrose Public Library last month about my sculpture, The Reader, installed there in 1999. I never expected it to become “iconic” but it’s great news. More information here on Wicked Local.
“The Reader” soon after installation. Photo by Sharon Shea.
Come and see my talk and exhibit this coming Thursday at 1pm in the Museum’s project center. I had a great week last week talking about sculpture, how I make my work, and the American Renaissance sculptor Sally James Farnham, one of the early 20th century’s foremost monument sculptors, who grew up around the corner.
This is a projection piece I’ve been working on for over a year now, off and on. Once I figure out how to do a panoramic shot in the dark I’ll be able to show more. Most of the drawings are done on plexiglass chips, or else found plastic trash. I use either 3 or 4 overhead projectors, depending on how much wall is available. I was trying to sum up the materials used and came up with this: Actual and manufactured detritus, unfired clay, projected drawing on plexiglass, knitted mylar.
The title of the piece refers to the Vedic incarnation of the god Indra, who holds an infinite net with a jewel set at each node, signifying the interconnectedness of all life. I see the unfired clay objects as references to flesh–powdery and fragile–surrounded by the remnant-world of the Anthropocene, torn fragments of net at its center.