2013 II

2) 22 May Tree of the Knowledge of Good and Evil 

1) 8 May 21x13x10

16x10x8 22 May

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.

All-AZ Clay Exhibition April 2013

AZ Clay exhibition at Peoria City Hall Gallery 2013

Praise Him

Flight

Christmas Turkey

Only three weeks to see   Praise Him, Christmas Turkey and Flight, lyrical pieces, but the show is mythological and epic. The Blue Ribbon to Kazuma Sambe for Whale Soda. He also has Goldfish and Tuna Soda, takes on commericalism and marketing. Working on Goldfish Smoothie, underglazes on Amador clay, pretty thin, ten pound fish pieces. Vertical Japanese writing as advertisements explaining the value of Whale Soda. Japanese orthography closer to the ideograms that originate the alphabet maybe. Mine have no intellect dimension, surprising maybe in a writer, opposite from clay,  never designed. From the moment. Kazuma called this an unconscious technique opposite his own. The unconscious is only ever known by looking back on its leavings, so the insight belongs to the viewer, not vested in an idea of the telling. Immediately current, a huge porcelain emperor's face is to have a hat, but not a Pope's Hat suggesting Antichrist, religion and state joined. So no hat at all. Myths lend significance. A recent story, What a Dog Coyote Sings AI-AI-OO-OO and Other Visions of Iisaw, (under review) constructed over a  twenty year period as a tail off of Overflights of Pedro Escadero, was thought out, built consciously line by line, sound by sound. The clay exhibits are some kind of meditation finished in a few hours of composition in two days, dry two days, bisque, glaze two days, then final fire. Here are some pics of the exhibition.

2013 I Escape the Pot

Rapture in Progress

9. Mt. Rushmore Crackpot 6 Mar

 

19 Apr

11. Power for Good Instead of Evil 17 Mar

6. Ode on a Grecian Urn 13 Feb

10. Three Muses At the Name of Jesus 13 Mar

5.  Goin' To Pot 7 Feb

After a few weeks a series of  figures wanted to leave the pot. They were looking for an exit. #5 could have made it, picked the pot up on his back and carried it off, but new to the game it just thought about it. #6 was lazy and decided to run around the thing like Keats' Ode. Trying to overcome the lassitude Foo-Foo jumped out, but he was blind in one eye, poor thing. # 8 had a mishap too. Standing tall the figures suddenly collapsed into this sitting position. Escaping is not easy. # 9 Mt. Rushmore got some fractures, but what rock face is without them?

Phoenix Center for Arts Sale Dec 1012

More Bags Full, Fall 2012

10. Flight

1. Bag Tied with String

9. Night Dress

2. Open Bag

6. Shopping Bag Eleusis

 This series started with the gift of a greenish white Australian my son gave me last October. I began to model the pumpkin, #1 above, which became a Bag Tied With String. I continued to haul this pumpkin to the studio a half dozen times, but the bag opened in 2., skewed in 3., started becoming a purse in 4., completely fell apart in 5., got mythed up in 6., (7. is omitted), became a species of night gown in 8. and 9., started flying around in 10. as a quail and 11. a turkey, which and took a dive in 12.

 3. More Bag For Sale. carpet bag, valise with pockets, some wear, part of a side missing, but you can see inside. Ash has sifted over the lip, a skin of paper clay and porcelain, homemade impasto impaled with desiccated prickly pear, agave and skeleton bone with cobalt, iron, chrome and tin oxide.
4. Tool Bag. With handles and at first nichrome wire, but took the wire out. The shell pap plus porcelain  plus mix worked cholla, pp pear, palm. Sifted chrome oxide, over it titanium ox, tin ox, more chrome, plus black iron, cobalt, rutile. A little thicker skin than 1.

5. Colossi. Was to have been a tall work bag with handles at the top but became Colossi, four legs, handles of the old bag implicit heads. Prickly pear skin prints fired out in bisque. Rutile, titanium, chrome, cobalt, no irons. Porcelain again rolled over paper, handles glazed clear, some white satin, the whole gently sprayed with Phx shino to maybe cause blistering like the original prickly pear skin.
  6. Shopping Bag.  Paper rolled with porcelain rolled with Dave's kneaded with blue and green mason stains plus composite light/dark clays mix impastoed with chrome oxide, titanium, cobalt and some burnt umber. Dessicated prickly pear spines applied for texture and with cholla skeleton. Death valley red added to strengthen lip at end before formation.  Glaze with blue green mat + lily pad + drift of clear inside, blue green mat + green poison patina + clear outside.

7. Well Bucket. Sprayed White shino heavy, light, also with bulb syringe, then syringe turquoise oribe over such, ash on shino.
8. Night Gown. Moldy Porcelain paper, top and bottom edges strengthened with paper, usual impastos. Wax over turquoise oribe, top lip, bottom, angel spit and TO over paper porcelain, spray clear, white satin, Shaner inside.
9. Bag with little bow on handle. Death Valley edges, handle, paper porcelain, Gault mix with hint of mason stain. Wax death valley, shaner inbetween, Angel spit over prickly pear fibers, lily pad, clear over rest, hoping to get red hints in borders.
10. Gault paper w/ porcelain waves, covered with paper porcelain w/ green mason stains, Rod's Bod top and bottom borders. Stains rolled into wings pressed w/prickly pear skeleton. Had handles, taken off, bottom of porcelain. Carbon Trap Rod's Bod, Angel spit, clear
11. The Gates of Heaven, after Rodin's of the opposite, angels in declension, figure arms waving, all in pastel mason stains, over coleman porcelain, over gault paper. Wrapped around form, eyelets for handles added, the whole full body hugged, too big for hands, collapsed, more handles added.

Apologia II

Eagle in Birdbath

A full grown golden eagle landed in the birdbath in the back yard.

Katonah Animal Shelter

When I was an arborist for Crockett Tree Service we sometimes dumped the day's wood chips at the dump, backed up the big truck to the edge, raised the back and it all slid out down the hill. Sometime it seems I had been warned not to look around the site, home of the Katonah Animal Shelter. The road to the dump wound around a little and then the truck had to backed up and in, so I didn't look on the way in. This day was a Friday. On the way out I glanced to the right and saw maybe the most disturbing image ever, but there are others, a pile of dog and cat bodies that had just been gassed, eight feet high. The thing grows over time. It is gargantuan. It was about three pm. They had just cleaned out their ovens for the week. I'd never spoken this before this morning when I was telling my spouse, in order to explain what I am doing with all the ceramic bodies in my mind, piling them up. These will actually be photographed some time, with blanket shreds in between to prevent them from chipping. There is fox, bear, seal, hawk, coyote, horse. What animal has not been annihilated? From the start, for  years, quadrupeds, glued back together, that either came apart in the making or in the glazing or firing, torn skins, beaded shino ridges, marred as it they were none, nameless. One called Boxcar Named Desire, to be exhibited this fall, hard to look at the faces; one called Apologia below. Some so large as to diminish their own perspective. All creation groans together toward its redemption. I don't think there is or ever has been one scientist who felt or grasped this pain.

Shroud

The Blue Man

Boots IV

Boots I

Making the FEMA le Boxcar

FEMA Boxcar, exhibited as Boxcar Named Desire in Memory Play @
Herberger Theater Gallery

I don't know what I was thinking. This boxcar was formed around concrete blocks.  After making it at the studio it went by truck to its finish near the bisque. It was two cement blocks long end to end, plus the weight of the clay. I guess it got rubbed with iron oxides then textured with whatever was at hand, which you can see traces of on the legs. Parts were waxed first for accent. I remember the whole back fell in which then had to be propped up and repaired. There are sliding doors on the sides, or marks where sliding doors and windows used to be.The whole thing looks grumpy. Everybody knows the Gundersons are nearly hermetically sealed.  Part animal, part train, part derelict, part wreck, it only adds to the effect that after final firing part of one side and a leg detached. It came back in these pieces but a team assembled it with clamps and gorilla glue over several days and put Humpty back.This defect, because I then thought it one, bothered me until I saw there is a whole genre of broken glue backs at the Ceramics Research Center, to show the patchwork I guess of a Le Corbusier of pots. Reconstitute, that's the going parlance. We need to get some better pics of this BoxCar up, but till then reference the pic at Current Exhibitions and personal report of sightings at Some Events on the Jersey Turnpike.
BOXCAR is another of those fables at our sister state we'd rather not believe. Demythologists don't plan to. But still the excess populations threaten our superiors' earth. Something must be done. But no matter.

In some sections of our downtown the falun gong  meet surreptitiously and sing songs like this:

 It’s like I’m a midwife and I’m
 catching the heads as they’re falling,
Goin to the boxcar and I'm

wielding my prison shackles,

Shackled in a boxcar and its 
 higher than nor-r-rmal,

 three tier torture transporters,

Shackled in a boxcar and I’m 
startin' to get wor-r-r-ied,

 Chinese prisoner boxcars

Fitted with a guil-lo-tine and I'm

waiting for a martial law
 that makes me want to be a Christian,

 get me a seat in the boxcar
of the new world or-or-der.

 Experience firsthand

From an unpublished document:  
The Mythical Horrors of Carol Novak

Is it too good to be true that more of this appears at Thee Mystical Mirror Carole Novalis. Should not an omnibus be ensuing?

Star Boots

This is the bisque version.

Lamb

La Chiara

Image from sculptural fresco on covered jar, 9/28/11, 10x11x5

[This speech given for the Trieste Newmontes among the garden statues of La Chiara near Siena  that year.]

They thought it man, center of the universe before Copernicus, (that once called all in doubt), but  a transmodern returns him to the center. New philosophy displaces evolution with gene experiments, god with immorality (oops, immortality), dignity of  rights with alien precedence and worse. To that new world where golden Shiners would come, each  article would new correspond with its byproduct, to coin it urinary speech and should philosophy excrete, and perspiration art, science a gall stone, government blood, new drugs too will roll, new gods with mescaline and DMT, and sex, how many brand names you got? This Ordo odoratum, rolls out obesity to wheel the patient off, still eating of course, since "if they don't eat they will die." We rely on consumption for national growth and jobs. Fast food makes them addicts with the food. The new woman of this New Order's ambition will weigh 1800 pounds. The fetish of obesity porn, diet, drugs and art we know, but not education, which is upcoming in brain implants, and literature. We hoped to set lit right with Ooks and Orks, but who knew you would read this.  The text changes from day to day. To quote Shakespeare, there's mud in your eye at the bottom of the frontispage here .

There is a  hazard to the new World Order greater  than the medieval corresponds where every planetary hair  has human dress. Profound the sun its heart, kohlrabi  its vegetable, gold its mineral, Brussels its city, Guam its country. When not the man, a woman lay on her side as Europe, her head Logres Britain,  a breast in France, a hand in Italy, Byzantium her navel, the Caucasus her buttocks, Jerusalem below, then "her Chin / Ore past; and the straight Hellespont between / the Sestos and Abydos of her breasts (Donne, "Love's Progress"), bogs, barrens, white cliffs, lowlands: buttocks, hands and chin. The symbolic world maps of (Andrea Bianco, 1436) put Jerusalem at the center of this globe.  Faithful to  geography, "we love the Centrique part,"  says Donne (Elegy xviii). "Spherical, like a globe. I could find out countries in her" (Comedy of Errors).

Self Portrait

Making my mark on the raw clay and not having it perceived as contrived is a major anxiety of mine...I make every attempt to rise above 'technique only'...it is much more important to reveal your passion and character, not just your dexterity. Peter Callas, "Conversations," Claytimes, May/June 2009.

Teaching is a kind of sculpting. Being on both sides is instructive. If the ends are the same the means are opposite. Much learning as a student comes from the impact of the teacher’s spirit, Jim Fallon’s enthusiasm, Rhodes Dunlap’s punctiliousness, Donald Justice’ perfectionism, Tom Cranfill’s savior faire. As a teacher though the specific events mean more. 

I used to take heavy impasto portraits to composition classes to teach descriptive writing. Not only were they impastos they were sculptural, coming off the canvas, portraits where one part of the face was especially exaggerated, the eyes, the ears, the lips, the forehead. One of these, Cowboy, an eager appearing at the putative door of his girl, had hair slicked, bandanna around neck and prominent extended lips, to picture his naivete of himself. After class a young woman in this all black student body came up to the picture as it hung on the wall. She said, I guess he’s a black man, and went up to the portrait and kissed him! 

Somewhat before this at UT Austin, saddled with teaching technical writing for engineers because I had a degree from a technical school, and after that saddled with technical writing for foreign students, both of which would be like teaching trees in a wood, I wanted some imagination to get the trees thinking. In one assignment for process writing the student was to describe the process of picking up a loaded .45 from the desk, putting it to their head and pulling the trigger. A number of them died in the exercise, a couple fired into the air. Nobody put in earplugs. Too extreme and offensive today, the point was to engage more than reason in the writing.

Describing these events  in a studio recently,  citing Peter Callas as someone whose work transcended form, the local expert (who is genuine) said he knew Callas and didn’t like some of his work, even though Callas is a world beyond this speaker. My response was, and it applies to teaching and learning,  beauty must be judged with generosity not severity and that the best thing of a poet or artist is this measure, not something less. Eliot makes the point about poet and translator of Kafka, Edwin Muir. In the Preface to Muir’s Collected Poems Eliot singles out “The Horses” as an outstanding poem summarizing the conditions of Glasglow, London, Prague, industrialism and war all in one great poem.  If only for that poem alone Muir must be admired and respected. This spirit of generosity, not criticism, brings close understanding in embracing beauty and wisdom.

Woman

Language is prima facie in all human affairs.  We do not say language has been seduced, or that woman has been expropriated, but were we not speaking we would hardly know we were thinking.  From the child to civilization, woman is  as primary as language, for everything we are and have of life is of and from the woman who has come under extreme assault. Greek myth and the corruption of the human genome by hybrid creation is an instance of this. Agamben below begins to tell how language is overturned against itself. Even though specialists might skew language into one pen or another and even though language is the only subject any of us are talking about (that is a pun, but barely), its uses in all things from Genesis, Socrates, Dada overwhelm. That language and woman are turned against themselves proves their first position in human life. From the moment the male is differentiated from the female zygote after conception, to childbirth and the nurture of life beyond, to the grave, the assailant knew that to defeat human life it was necessary to subvert woman and overturn the word. How these assaults occur, what they are, what measures of defense, is the subject to these statutes.

Guess What Happened When the Body Touched the Bones of Elisha

 

Once while some Israelites were burying a man, suddenly they saw a band of raiders; so they threw the man's body into Elisha's tomb. When the body touched Elisha's bones, the man came to life and stood up on his feet. 2 Kings 13.21

Char!