Saturday, March 8, 2014

2014 After


6.
5. Weimar
7.
8.
2014 and After.  #5 pictures Weimar in eventuality, that Republic of Germany before the war, before the Nazi, celebrated for sensuality and fashion which convinces of disaster, since after 1933 the Nazi regime and Hitler were installed as the German government. A kind of philosophic weight attaches. Seeing Chris Gustin's big blue vessel at the Reitz unloading, a coil, he said, 1/4 inch, which only looked heavy because two took it in a blanket from the kiln, attractive for its inhalation, and contemplating Reitz' blowup teapot, crocks and cross stands and those  in Callas and Voulkos combining large slabs, who started using these crosses, x's slabs, extruded pillars led to these Quechua Bodies
After the Big Hats and Robes of Bolivian Peoples.
9.
10.

I began  to reverse stretch the clay to make the top, about 20 inches tall. There is room to go to 30" up and to fill the bisque kiln entire with circumference,  but wrestle heaviness of the top, one of which fell in, so now they are half the thickness of the body. The base is constricted then trimmed so it is narrow, but there is no bottom to these. Almost nothing could get in the top anyway. This also helps make it light. The laminate patinas of porcelain and other clays is very thin, following the experiments at Pompeii Politics. It is pointless to cover these with glaze when the clays are its beauty, so some mist of reds and clear and celedon, tenmoku the dark, and leave enough raw for the rustic, #5-7. Body Robes & Big Hats,
11. Papago
#8 has been called a scribe in lotus posture full of verse. He's been reading Will James though. As nice as that is, maybe I'd call him Gravity Man. A paper weight. Who uses paper though? How  flat and unprofitable. The effort was to get above 30" so the finish would be close to that, but gravity, thinness, a brush of the hand dropping a tool, reaching for it, some tears, a tilt--and it just sat down in the lotus. Below Gravity Man, #9 and 10, the calyx of 9, unseen here, opens as a flower. #10 is an effort to expand the form out, Rod's Bod skewed over Black Mountain. These should be seriously darker when fired, except for the porcelain patches. Red shino sings on black.
12. 21 Mar
14. 23 Mar
13. 22 Mar


#11 Afterward I thought of this pit fired Papago pot gotten from the old trader Kermit Lee in a flush moment when he liquidated. You can see the burn marks and its softness: “Eight miles from the Pisinemo Road is the Quijotoa Trading Post. Quijotoa is a Spanish corruption of KiaHoaToak, Papago for “carrying basket mountain.” The Quijotoa Mountains were mined in 1774 and again with more importance in the 1880s.

16.

22. Maquiadore Eclipse
15. 24 Mar
At the trading post, Mr. and Mrs. Kermit Lee have a wonderful selection of Papago baskets and pottery. Baskets range from thumb-nail miniatures made of horsehair to waste basket size of yucca, beargrass, and martynia…Almost directly across from the Trading Post is a road north to Santa Rosa Village. Just west of it is Ventana Cave; and here lies some of the most ancient history in North America.” Desert Magazine,
 May1969.

 Notes
Voulkos  "Invented each time as if for the first time then reinvented as part of the history of invention."...geology of art, archeology, layer by layer...primeval geology, gap, crack, smash, sludge, break...beauty of the crack, the burned crack, the torn edge, plasticity, viscosity, drying, slashed, embedded, incised, scratched, scored, incised wax resist stacks, plates, STACKS! contours, recesses, fit for caves, spelunkers, "destroy itself at the same time it creates," ...original wary attitude toward applied glaze solidified to total avoidance...cylinder, dome, sphere, disk, plate, slab. Leather hard wheel forms joined in various combinations in stacks or ice buckets (?) muscular, irreverent, anti-academic [primitef] From the introduction of Clay's Tectonic Shift: John Mason Mason began to make massive rough-hewn walls... huge cross forms and solid, geometric shape...imprinting the finished form with the gestural force of its making-ceramic walls]. Walls, vertical totems, crosses, reaching for the primitive.
#15 Black Mt grit with pearlite rolled in, also rubbed to scrape the surfa
ce, with red iron oxide and somecobalt.

imprinting the finished form with the gestural force of its making. - See more at: http://blogs.getty.edu/pacificstandardtime/explore-the-era/worksofart/blue-wall/#sthash.EIdyEBpA.dpuf].Ken Price, and Peter Voulkos, 1956…Slivka and Tsujimoto.Voulkos, Cal Memorium: "Firing in wood burning kilns gave him new surfaces to explore along with new clay bodies that he discovered while in Japan, clay from Shigaraki. Sandy clay from the bed of Lake Biwa has a warm orange color which characterizes Shigaraki ware [?] of irregular contours and archaic flavor. Firing technique shifted from reduction to oxidation firing, which allows free admission of air during the firing rather than limited air admission into the kiln. This allows iron oxides to be used as part of the coloring process. The allowance of free air is due to the type of ancient kiln, called an anagama kiln, which is used to fire Shigaraki ware...achieves the mineral glaze surface. Depending on the placement of the piece, the resulting coat of ash and minerals will vary with a greyish to a reddish-brown colorizing, small impurities protrude, caused by embedded quartz [feldspar?] partially fired. Covered with a thin layer of overrun yellowish-brown to a peach blossom red color glaze that crackles when fired is also characteristic." We are going to have to forgive Voulkos for being an influence on so many ceramic artists. That's their fault. Also forgive the force of his personality, here's a good pic. The solitude, rejection, anger, energy, dislocation: “The minute you begin to understand what you’re doing it loses that searching quality.  Your emotions take over and what happens just happens. Usually you don’t know it’s happened until after it’s done.http://franklloydgallery.wordpress.com/2009/07/09/peter-voulkos-on-improvisation/Of the influence of Franz Kline
John Mason
18.
17.
19. Hildegaard Partnership w/ Gavity

 I did not know Hildegaard before she appeared on the board last night, a partnership with gravity. For the record, with bisqued decomposed granite kneaded, the seams were light and she fell from a beautiful height to emerge thus with the weight.

21.
Bridges, tunnels, buildings, engines, railroads, and other architectural and industrial icons are imagery informing Kline's work; lines, planes, facets, coal, "Kline’s memories of his native Pennsylvania’s coal-mining region, with its stark scenery, locomotives and similar massive mechanical shapes to which the titles of his later abstract images sometimes referred." When I look at these rectilineal constructs, crosses etc I see grave stone ceremonials. Much of Voulkos, Callas, Reitz is suited to memorials. De Kooning also enters these associations, who I have long loved, block and slices. I love everything he says about art non art.

Friday, February 21, 2014

Pre-War Germany - A Preview

Weimar
The Trojan Horse outside the gate, Leviathan comes to land. Angels are loosed from the Euphrates. My life in prewar Germany crosses this surreal water. Watch the hawk with an indifferent eye, that almost won War on the sun until the hands wings, are found (Stephen Spender. Poems, 1933, 11). Which conspiracy do you prefer, America a 21st century prewar Germany, or prewar Wiemar in the eyes of Stephen Spender of Oxford, London, Berlin? We find the eyes and hands, but not the tongues. Electrosmog and frag go up in smoke. This war calls on civilization to surrender to what it does not believe, circumstances so bizarre. Fast forward to the Colorado at the edge of an eclipse of the moon, Halloween with fires, rooftops aflame, the shout, cries of black students, Karl Hillie's letters, civilization's blows: Earth burrows while we breathe the bubble, mole prophets claim  Who can  understand such speaking! Riddles with antimony. No literal sense yet of forty years after postwar Germany manufactured peace from war. Time, upset by the recurrence, brought Wiemar out again, smoked with the same unhappy, pained, gentle creatures who represent the heart of another Germany, and do not understand what is happening to them… peculiar whiteness and stillness of their eyes which seem to have been drained of pigment…How closely I press upon a secret! Why am I always attracted by these desolate spirits? (Spender, Journals, 1939-1983, 30), out of order, out of time. More a poem.
Moved by these dilemmas for their own sake and because it's no easy kinship with the desolate  swept, I get out Horst Keller’s copy of Spender’s Poems of 1933, inscribed as a  souvenir  of Oxford London Berlin from Stephan Spender / March 11, 1933, who "I met on the Hook of Holland boat once, shortly before Hitler’s rise to power," twelve days after the Reichstag fire.

Hitler's "rise" ended in March 1933 after the Reichstag adopted the Enabling Act of 1933. President Paul von Hindenburg had already appointed Hitler Chancellor on 30 January 1933 after elections and intrigues. Hitler used The Enabling Act thereafter  to constitutionally exercise dictatorial power without legal objection. 

 Spender: Horst was the son of a general. And now that at least four names crowd on to me, I remember than many are aristocrats and often close to the higher ranks of the army. This boy was called Horst. He had a round face with very well-formed features, delicate lips, light blue eye, and brown hair of an almost feathery lightness. He was very quiet and polite and he had some small, out-of-the-way interest – playing the flute or making musical instruments or something. There’s really nothing much more to it than that. He had a scholarship at Oxford and I used to call on him there; we went for walks and I introduced him to Isaiah Berlin. But he never in the least became part of the life at Oxford... One of those unhappy, pained, gentle creatures who represent the heart of another Germany, and do not understand what is happening to them. I have touched a deeper chord than I knew here, for Have I not met two or three of them? Didn't I know very well the peculiar whiteness and stillness of their eyes which seem to have been drained of pigment? These poor ghosts are really beautiful in a sexless way, because, if one is a young man of another country, an exile in one's own, one cannot expect to be virile. How closely I press upon a secret! Way am I always attracted by these desolate spirits? There was one I met on the Hook of Holland boat once...(September Journal / 1939).

Spender dismisses the Horst as always just as gentle, just as isolated [with] a restlessness that never ceased...but the poor ghosts, as he puts it, peculiar whiteness, drained of pigment sound like what he wants to become: "Most of these poets and writers...delivered their sad advice on the literary life which I was now just about to enter, like ghosts in purgatory, conscious of the relative failure of their illusions, (World On Worlds, 89). Auden had assigned him to be the poet, Isherwood the novelist at Oxford as if appointing a board of directors, but they were all grasping for illusions, not from compulsion, save Dylan Thomas, drunk all the time, or Faulkner, or Edith Sitwell out of some depth psychology of esoteric Jung.
The lords of lit dismiss the past and its victims as the present, as Spender does the sustained gentle sense of his unhappiness (31).

So much power and signifying. Horst Keller is naked. On one hand Spender’s dismissal of him for  lack of philosophic depth is the same dismissal poets and critics give one another and all. It is the intellectual counterpart of the bullying Spender himself received. Pound called Yeats Tower putrid. Hemingway called Spender squeamish, and as Spender says, My parents kept me from children who were rough…their knees tight on my arms. / I feared the salt coarse pointing of those boys ( Poems XII). So seeing as how we live in Wiemar America, revealing our prosperity before the fall, those coracles with faces painted on (Spender, Poems, III), even if the Reich-stag still burns in the Towers fueled by terrorism and morphed into a propaganda tool,who practically coined the term propaganda, we are not prisoners of the Reich. These are just mirages of the digital, a new species of the digitalis that poisoned Van Gogh when he was given it for seizures. His brain saw a color shift which produced the yellow period, haloes around lights Xanthopsia fools the brain. After creation of the group mind, when the news is proferred by Yahoo headlines, there will be no word of the indigo children who destroy the world for its own good. This is Childhood’s End, catalyzed by the beast that comes from its ship in 50 years! 

Absolutely this can be guarded against. Our superiority of being the three stand naked: the new, bronzed German, / the communist clerk, and myself, being English (Poems, XIV in 1929). As all should know by now the England is America without water to cross.  You have to hear echoes where England echoes America and America China, India, Japan, Ukraine, Egypt, Peru. England is the world! All for one and one for all, giving insight without HBO, in simple haunting speech. I’m haunted by these images, /  I’m haunted by their emptiness. (XVI). Who in Wiemar America lives under the shadow of war? Nobody, just like Wiemar. Spender goes again and again a decade before, but sees The prisoners / Turned massive with their vaults and dark with dark (XX). In this Book of Days, speed throws up strange shapes, broad curves / And parallels clean like the steel of guns (XXVI) everybody feels empowered by the need no more to remember maps, addresses, time. Electric electronic light, my device, More beautiful and soft than any moth / With burring furred antennae feeling its huge path (XXVII). So it’s not just England. America is naked and the world as all things are naked and opened unto the eyes. It’s nice to have the commentary of Stephen, as if a saint, who could have written a biblical book, like psalms write the Savior centuries before, I am poured out like water and all my bones are out of joint…I may count all my bones. But our Wiemar will not heed porcelain in the midst of these Slanting iron hair pattern no stigmata (XXXI). That’s clear enough…That program of the antique Satan / Bristling with guns on the indented page (XXXIII),  the coming machine of war already here. Conclusively we know war, but don’t, the war of three worlds, apocalypse of heaven, earth, hell. At least one exists. So that’s what you get when their knees are tight on your arms as they hold you down. For a while Chomsky thinks its Hitler comes from the right, left, right, left. Not Hitler coming, not the Wiemar just back from the Danube where Marlene Dietrich was singing. We’re not talking hyperinflation and Balkanization here or  four angels loosed from the Euphrates. I hope you know I’m kidding.

Tuesday, January 21, 2014

Unloading the Kiln @ Don Reitz' Ranch. Calling Fire From the Lobate Scarfs of Clark.

Sparks and Earthquakes. Peter Callas has a catalog called Sparks. If you haven't been burned twice you need to. The burning, the consuming, cremation not burial has different appeals. They all say a poet needs to say how to walk in kilns, but they mean prophet. The wood burning fire kiln makes space in the clay, operates on it so that simulations of earthquake occur like the thrust faults and global contraction of the planet Mercury with its lobate scarps from cooling of the planet's interior. Mercury, as Casanova's pieces, has a larger core than the other inner planets. Cumulative compressional strain recorded in the lobate scarps suggests a decrease in Mercury's radius, which the kiln can easily top, at least 10%. So the mere reduction gas kiln is made to perform like the anagama. This core contracting produced the lobate scarf[scarps/scalps]s or cliffs by implosion, displacement thrust faults, compressional  stresses, thermal contraction, lineated terrain. Preexisting crater rims have been disrupted into hills and fractures, crude polygonal hills, mantling, blanketing by impact ejecta. All these global aspects of Mercury lead to the loss of surface that secreting, planting of contradiction into the clay body makes. So try slumping, cutting earthquakes while seeking the volcano in the kiln. The lie, the pollution in saying so calls the fire out of the medieval cloud of unknowing with the fire of the spirit. Fathom that after the volcano, say like the shell of a man shrunk, heart sack creased like a bag, pot expelled from itself, you don't have naught to say. Thought burns up. Intellect ceases tasks. You stand struck, parietal lobes rewired and this destruct, this is art? 
Mining Minimals

The implicit reduction of oxygen forced with ash and smoke from the various chemicals saturated in the clay make them blush. Sure iron and copper but the composition of the clays sets up the blushes, that and maybe the pecan, walnut, pine. Some place they fire with cinnamon, persimmon, madrone. Lee Ufan (Japan), Claudi Casanovas (Spain) and Donald Judd (W Tex (Marfa!)), range to and fro over mimetic takes of these naturals, in this case the cuts of stone hills and scrub growth but so much more the sun and sky. But the intellectual view is polluted. How can the intellect pollute the natural, and its art when it thinks it is mining the heart? Because all mining produces contamination of surface and subsurface, slag heaps, gob piles, subsidence, runoff increase, chemicals concentrate in water the Reitz Ranch is well situated to recall. The wood kiln is all about the blushes these girls make when they come out and open their faces.That's a whole color study itself. The Unloading makes all the ranges known. In the catacombs Don Reitz is rumored to mix his clays from a WSO base, with a pinch of the secret. Others are trucking raw from the East as Reitz draws  From The Heart.
Pollution

Truth Business
Consider the Verde river polluted with mine tailings and arsenic just down from here, so Cottonwoods might fish the river, maybe they don't drink the water, but it is clear to all from abandoned smelter stacks and slag piles. Wash down! Leftover mines, Globe, Bisbee, Jerome and a hundred others are the intellectual pollution of the natural, but in the human, likeable and seeking depth, these mines are the depth of art mirroring life that cannot take some pistine [pristine] form as Reitz' sculptural uprights recall with their crosses and grave artifacts as at the River Shannon graveyards at  Clonmacnoise.

 Jonathan Cross mentioned  the fire of the volcano and insisted that  ceramic takes  were intellectual, after the natural. The red, black and white clay colors of ancient statuary are like the three classical colors, the only colors in Swahili, so maybe inferred from Arabic. The argument was that had they the colors we have they'd certainly used them. So the sea did not remain the wine-dark of Homer. But what is art if not pollution, considering our surroundings, the hills barren, the river poisoned, the sky filled with chemtrails all the sun filled day? Intellect to intellect, I didn't say this. I am listening as if knowing is finding the spirit of knowing and not knowing simultaneously, as in a human mind. Arguably pollution is a good we all talk about with the volcano, the chalk hill, the passage tomb of the wood kiln, infiltrating of cone 5 clay into cone tens with bark and organics, rocks, volcanic ash, erosion, deposition, reburying feldspar, shigaraki layering, laminating opposites, cracking, stressing with cedar berries, pine needles, sycamore bark, buckeye pods, chicken bones, fish in streams of shino in the underclay where spines are buried, pebbles manure, vermiculite! beetles! road kill!, chollas, spines, pads, all buried. All hope to come out a scarab stretching geologics. Miners, dwarves, nibelungs explore, explode the iron oxide earth clay coat rutile washes, cobalt holes. I would subscribe the words parageography to geology with the voyages of  Odysseus, Virgil, Brenden.
As Beowulf stands beside the burning mere
Of plumb immensity before he’ll go
Into the vast abysm without fear,
And wonders if that watery bed’s his bier
Before he draws a breath of earth’s sweet air,
And dives into the darkness of the mere:
You say there's a difference between water and earth, between air and fire, between male and female? More pollution of the intellect.
Apocalypse
So all these firings are apocalypses. Before I left for Clarksdale I read that when the angel sounds it will loose the angels bound in the Euphtrates. Fire is romanticized. Think the sculptors and the picsine  shapes of women know that in this fire we go? Have they touched. Once burned? Twice? Why were these in the Euphrates (not the Gihon, Tigris, or Nile)? Why had they been bound, now loosed?! But you know why. The 200 million whose horses breathe fire, smoke and brimstone are kilns! Some critic would poke that, as Alter does Kafka's analogy of the Wall of China for the Tower of Babel, that this is wrenching scripture. China to Babel, horses to kilns, all the prophets, Enoch, Noah, David, Isaiah, Jonah, Jesus, John are traditional and iconoclastic. Just consider Jesus making the whip. Kafka enforces scripture with the best Biblicals. Believe that or read the Great Wall of China and the kiln opening like my nephew asking what the opening of the seventh seal meant. I hate to ruin the end by telling.

Snow on Kiln. First piece after Reitz
 Note: These ideas, called minimalist, and abstract expressionist, arising in conversation,sound like Legends of the Unconscious, not yet written exactly but which have many sources (1, 2, 3, 4, 5, 6), much to do with vacancy and presence, vacancy of the design and designer, presence of the flows of the natural. Making and repeating the same patterns required to identify the recognizable work of the brand is the exact betrayal of  vacancy. Dropping a stone on glass as Lee Ufan, making by  erosion, breakage, eruption, is vacancy. If firings are apocalypses what are "reconciliations of the good?" No results found. 

 Lee Ufan, in Mono-ha, the School of Things, says unknowing materials reveal knowledge. Against thought and forethought, if a stone hits glass and the breakage conforms to the intention of the artist, the result is mere thought. Only the  tension  of artist, glass and stone, the freedom of each to act unknowingly, makes art,  revealing qualities inherent in, but not visible as object. Crack the stone, conceal the stone, railroad ties reveal connotations of forced labor  in Japanese colonies in World War II, Ireland's stone walls around the Burren are famine walls denoting starvation and slavery. Starkly burning wood makes charcoal. So here we study with creosote and yarrow, mugwort and water. Take it further in the tortoise mirror, but all these ideas live in Chuang Tzu. This entire site Extremes of Biological Extinction, preoccupies such beings. 

Claudi Casanovas, in Twenty Blocks, says each piece is a silence. If I were a poet, I would inscribe words there. Don't you love art talk? Don Reitz is famous for it. Here Casanovas too, but such impossibility!  The silence is complete. Only Casanovas' stressing of materials is exciting, The problem all these boys have is why should I buy their pieces when I can go to Winslow and get  a piece of petrified wood as big or  bigger than I can lift, already stressed? The stressing of materials echoes Mono-ha. The impression these give on the GalerieBesson site is of a depersonalization attractive because the viewer doesn't have to figure out the message, recognize the face, interpret the image. It's a rock its own self collecting, but there were no human figures in the kiln. 
 Donald Judd collaborated with his father, but had extreme distaste for galleries and art biz. Artist as "designer," not "maker" should not obscure that design. Whether preceding the made, made in the making, or found after, this is a mere time constraint, for there should be time no longer, to further the Biblical. If then, then now. Time is a convenient for those who talk. If no time, then no human maker either, not to deny the work, merely to say nothing, certainly not thank you for saying it is good. What's your problem anyway? He died rich. He was so rich he started a foundation in Marfa. That's where Robert Creeley got sick, but died in Odessa.
Video of another unloading, here

Wednesday, January 8, 2014

Eleusis & Praise Him @ Herberger Theater Art Gallery 10 Jan - 3 Mar 2014

Eleusis   
15 x 14 x 10  High Fire Ceramic $900 
These two pieces address the unconscious. Eleusis.They used to say the Eleusinian basket was the revelation of the world you saw when you lifted the cloth that covered the kiste, sacred chest, the kalathos, lidded basket, adapted for Batman who lifts the cloth in Batman I and sees a bat. Eleusis here has a fine blue green interior and as the cloth is lifted you see within. Indentations made by impression of dried nopal pads that suggest pleating or weaving, dessicated prickly pear spines are applied with cholla skeleton. There is of course a theory that a mirror was placed inside and you saw yourself clouded by the drug they gave. To buy the metaphysic with the ceramic, the mystery first or the drug, the insights are joined, which image must seen ghastly to conform to all those underground chambers where the rites took place. The unconscious is the receptacle of all our sins, idolatries that dress themselves up in myth covered by a towel. They are beautiful in the eyes of sin, blue as Ishtar's gown and covered where they pretend they are good and to be good. The towel cover is the scale over our eyes that even when we receive the pain and suffering we bless our sins. Who shall deliver me from the bondage of this death? The unconscious is a Lilith pretending to be beautiful, whole and healthy, wearing a million seductive faces, Ishtar and Lilith, a prostitute of Ishtar. We haven’t overcome any of our sins they overcome us. Every time somebody tinks they defeat sin it morphs into another. Lust becomes pride. Lying becomes self deception.

Praise Him, Praise Him, 
All You Little Children II  
  15 x 10 x 6   High Fire Ceramic $800
There is no truth except in revelation, but revelation is the very thing sins want to defeat, so they will tell you, these gurus of the unconscious, that revelation is everywhere in myth and in the world. But that is their means of fooling. It is called wisdom, the way of self aggrandizement. Yourself or the god, this basket differs from Demeter's, even if it has plant based designs on its cover. Here you look within and see as do the patrons of the theater at intermission in this two month run. Should they fall to the ground weeping as they pass the truth discovered vessels, as we have been told, it is not their fault. The blue interiors are much desired by patrons. These both will be gone, and cheap at the price. Brown and green remnants kneaded into porcelain with blue green mason stains plus composite light/dark clays impastoed with chrome oxide, titanium, cobalt, rutile and some burnt umber, death valley red added to strengthen the lip at the end before formation.  Glaze with blue green mat + lily pad + drift of clear inside, blue green mat + green poison patina + clear outside.

Praise Him, Praise Him All You Little Children II manifests the unconscious only ever known by looking back. The insight belongs to the viewer and is not vested in the telling. Its call and response has no a priori aesthetic, only such as appears in the coherence. He knows where he is going, but is not sure of his way. He knows by going, hence he knows to praise in breath and prepare to wear the Word as a living scroll within, literal handwritten, bound in boxes on the head and hand, on top of precepts retold that we ourselves are in the Word that underlies and surrounds what is said, a coat to give away that transfers by will, which you're going to say you've been praying all these years to have, and will. Herberger exhibits before this included Pity Pony, Out of Body and Out of Body II, Boxcar Named Desire and  Corn, Rice and Bean Jar.The Herberger entries comprise ten digital images. These selected make this pattern.

* Don't know where else to put this right now, so make it small. The death of the Uncon doesn't include the the loss of breath and autonomic nervous systems. It does include the loss of all falsity, all deception, all fear, all powers of dominion,. Not a utopia, it is called the Kingdom of God. Whether that's what it is or whether that is another ruse planted, rather interpreted by the Boomquats needs discerning. Boomquats are a name for Jungs Freud forces. Those forces are no more endemic to the human than sin. As sin is done in, death dies, which you think a utopian dream, it is not, assuredly not. The roar. the roar.

Monday, October 28, 2013

Saturday, August 17, 2013

Pompeii Politics

Pompeii
 Eons from now they're going to find these pots and think there was  civilization here, like we do of Greece. Can you imagine what they'll conclude when they dig up the Ceramics Research Center?

A series of pots excavated from ancient Roman digs, probably from Pompeii, either that or they were broken and put back together by shard hunters, although the view is appealing that they had just been thrown before the holocaust, but saved by that atmospheric bisque in the moment of volcanic eruption, 800 degrees in some places, low fire, which accounts for the stress. They have been delayed in arrival from customs boondoggles. Please understand all these statements are symbolic. They are still waiting to be fired @ cone 10, and they are made to look as if they had undergone those stresses. I suppose the striations and cracks from stretching the clay also occur from the suddenness of heat without kindling, though they must have been sitting there to dry some days after being taken off the wheel. 
Afterward the heavy ash would have sifted from the cracks leaving them as you will see here. Further studies post Pompeii are likely to record additional resources. In one we can just see traces of an outline of Italy in the remains.

Egypt. Another series of these fire disasters occurred at Fall of the Egyptian Zodiac, part natural, part political which could be linked to politics, lining up modern Cairo with Naples, which presents constellations in the promise of a horn blown against the serpent [tyrannt] Ouroboros , fulfilled in the upraised arms of the Warrior Deliverer, but the top blew off. Put to biscuit kindle an hour, the controls were left on high from the previous fire. The floor manager did not return for an hour. Turning on the fan to clear the smell (and smoke), which  made more thermal shock, in another hour there was a  crack. Zodiac exploded all over the kiln. That was the end of democracy. You may say of the elders of Egypt, even if their faces get singed, that if the top is exploded the bottom may go. That of course leaves us worse off than when we started. That the walls are still standing is something that the vessel will not hold. The complete story is here at Fall of the Egyptian Zodiac.

These politics would need a greater series of earthquakes with great splits and cracks in faces and cliffs of pots,  but the daring needs to be great because the whole construct is at risk, especially from inch thick impasto slices of porcelain speed dried over other base laminated clays which accelerate the cracks. 

Syria These matters affect Syria among the Arab states. Did not CIA boast in recent bulletins that it overthrew the Iran democracy in 1953 to put in the Shah? Obama wants what exactly Bush, Johnson, et. al. did. Wait for the news.

Monday, August 12, 2013

Woman & Samurai

Samurai and Lady, 17 July

Loose Leaf Tea Jar


May 22, 2013. 16 x 10 x 9.Jar has two faces on this side, a diagonal from 2 o'clock to 7 ending in the chin, and 12 o'clock to 5.30 down the center of the face.


Thursday, August 1, 2013

Figure 44" Waist, 3 July



Angel I & II - 22 May, 29 May

Angel I looks like a previous b/w monotype of that name.

Passing the Baton 19 Apr 13

Two figures pass the baton to the one with his hands in his pockets with the look of surprise. I sent him as a bio pic to Anti-Poetry. They want him for a future cover.

Rapture in Progress 3 April 13


Warning for any inquirers, the bottom of the inside is inscribed with words written in every rapture, The Lord Is My Shepherd. Sorry about that. This was done on Aeyrie's birthday. It is in the round, figures ascending in different stages and is like Opening the Fifth Seal which shows the figures as a canvas.
It takes a while to understand these things, but it occurs that I have made countless images of these people flying up, at least since I wrote on a student's paper way long ago, what do they do at the tops of mountains, children lifting pretty heads from pillow beds? So not only here, but by interpretation of El Greco's Opening the Fifth seal and in the end in Danby's Sixth Seal, in the process of being hung.

Monday, June 3, 2013

2013 II

2) 22 May Tree of the Knowledge of Good and Evil 
1) 8 May 21x13x10
22 May 16x10x8


Grotesque of the Tree of the Knowledge of Good and Evil.

This style has its hazards. It wanted to shape fluting with stretched porcelain, the figure around the vase from some notion that it would pick up the pot and walk off, the green contrast against orange shino the tree's leaves so to speak. But myriad cracks of the stretched clay produced dark where the glaze broke, not veins of leaves. The entwined figure likewise turned dark, glaze separating into scales which looked more like the figure was strangling the tree. It takes some time to be able to see what is actually there as opposed to what one thought should be there.

What this says about the value of education can be left to the spectator. What it says in the iconography of the forbidden seems evident in the corrosion of the dark clay of the figure, borders of red around the "leaves," orange, = maroon cracking, speckling, spalling, a perfect allegory of the knowledge that can cut the fins off every shark to enhance health. Evil is always so explained, analyzed, rationalized that pains have been taken at  Scribd sites, HistoPossum, Opiomes, Building Transhuman Immortals, and etc. The white shino interior of this vase belies the ill prognosis where it has collected on the inward curves of the slopes like snow.