These ideas, called minimalist, and abstract expressionist,
arise in conversation like Legends of the Unconscious not yet
written, have many sources to do with
vacancy and
presence, vacancy of the design and designer, presence of the flows of
the natural.
Making and repeating patterns to identify work as recognizable of a certain brand
contradicts vacancy,
but is a usual style of exhibition, at least after the effect.
Dropping a stone on glass, making by erosion, breakage,
eruption, gravity, is vacancy. But if I ask -- if firings are apocalypses what are reconciliations of the good -- no results are found. The pine will die in the fire!
Lee Ufan, in Mono-ha, the
School of Things, says unknowing
materials reveal knowledge. Against thought and forethought the breakage when stone
hits glass conforms to gravity and glass, not the intention of the artist, otherwise the
result is mere thought. Only the tension of artist, glass and stone and the freedom of each to act and crack unknowing reveals qualities inherent in, but not visible as object.
Yes this is a little simple. Crack the stone,
conceal the stone,
railroad ties reveal connotations of forced labor in
Japanese colonies in World War II, Ireland's
famine stone walls around the Burren are famine walls denoting starvation and slavery. Starkly burning
wood makes charcoal. So we might study with creosote and yarrow, mugwort
and water or look in the
tortoise mirror where the
Extremes of Biological Extinction
preoccupy such beings.
Laminating Opposites
Listening for the spirit of knowing and not
knowing in a human mind, as if passage tombs were like wood kilns, and even pollution makes a use while laminating opposites to show ourselves with volcano, chalk hill, wood kiln. Infiltrating cone 5
clay into cone tens
laden with bark and organics, rock, volcanic ash, erosion deposition,
reburying feldspar of decomposed granite, shigaraki layering, cracks,
stressing with cedar berries, pine needles, sycamore bark, buckeye pods,
chicken bones, --what else-- fish streams of shino in the underclay where spines
are buried, pebbles, manure, vermiculite! beetles! road kill!, chollas,
spines, pads, all buried to dare? A split scarab
stretching geologics.
Mercury
Mercury-like thrust faults and global contraction
of the planet with lobate scarps from interior cooling. Mercury has a larger core than
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 a reduction of the kiln, the anagama produces the
lobate scarps [scalps]
or cliffs of implosion, displacement thrust
faults, compressional stresses, thermal contraction, lineated terrain.
Preexisting crater rims disrupted into crude polygonal hills and fractures, mantled, blanketed by impact ejecta. Miners,
dwarves, nibelungs explode the iron oxide earth clay coat, rutile wash,
cobalt hole.
Core contractions
All these global aspects of Mercury lead
to a loss of surface that
secreting,
planting contradiction into the clay makes. Slumping,
cutting earthquakes seek the volcano in the kiln. The pollution in
saying so calls fire out of the medieval
Cloud of Unknowing
with the spirit. Fathom that after the
volcano, like the shell of a man shrunk, heart sack creased like a pot
expelled from itself, with naught to say. Thought
burns up. Intellect ceases. You stand struck, parietal lobes
rewired.This destruct is art?
Apocalypse, all these firings are apocalypses.
The Seals
Think the sculptors and the piscine
shapes of women know that we go in this fire? The kiln is about blushes girls make when they come
out and open their faces. The
Unloading makes the color ranges known. In
the catacombs Don Reitz is rumored to mix his clays from a WSO base,
with a pinch of secret (oxide). Others are trucking raw clay from the East as
Reitz draws
From The Heart.
Implicit reduction of oxygen
or oxidation forced with ash and smoke from chemicals
saturated in the clay makes them blush. Iron and copper clay
compositions set up blushes with the wood, depending whether 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 takes of this natural, cuts of stone
hills and scrub growth, sun and sky.
Been touched? Once
burned? Twice? Feel the fire? Fire is romanticized.When the sixth angel sounds it will loose the angels bound in
the Euphrates but by the seventh angel it is all resolved. Why were they in the Euphrates (not the Gihon, Tigris,
or Nile)? Why had they been bound, now loosed?! The
200 million horses breathe sulphur, fire and smoke. They are kilns wrenching scripture fromfrom the Tower of Babel to Kafka's Wall
of China. China
to Babel, horses to kilns, all prophets, Enoch, Noah, David,
Isaiah, Jonah, Jesus, John -- traditional and iconoclastic. Consider a whip to cleanse the Temple. Kafka enforces scripture with the biblical. The Great Wall of China and the kiln
opening are like a nephew who asks what the opening of the seventh seal
means. I told him that I hate to spoil the ending. It's not art, this parageography to geology of the voyages of
Odysseus, Virgil, St. Brenden or
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:
Poetry, you save that difference between water and earth, air and fire, male and female.
Mining
Minimals
How can the intellect pollute the natural and its art when it
thinks it is mining the heart? All mining produces
contamination of surface and subsurface, slag heaps, gob piles,
subsidence, runoff increase. Chemicals concentrate in water that the Reitz
Ranch is well situated to recall, chemicals concentrated in the Verde
River run right by. Consider the Verde river
polluted with mine tailings and arsenic runoff just down from here where
Cottonwoods fish the river. Maybe they don't drink the water, but
abandoned smelter stacks and slag piles wash down leftover mines also in
Globe, Bisbee, Jerome and a hundred others. Compare these with the
intellectual pollution of the natural in the human. Like it or not,
seeking depth, mines are the depth of art mirroring life that
cannot take the pristine uprights of Reitz' sculptural recall, with its crosses and grave artifacts, other than as if they were the
River Shannon graveyards of
Clonmacnoise. The last thing I remember is
Jonathan Cross saying something like, "the fire of the volcano," who insisted that
deliberation of ceramic takes of the world were intellectual, after a
taking of the natural. The argument was that had they the colors
we have they'd certainly used them. So the sea would 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.The red, black and white clay colors of ancient
statuary are like the three classical colors, the only colors, inferred from Arabic
is a Truth Business.
Kiln opening.
Do you love art talk?
Claudi Casanovas, in
Twenty Blocks, says "each piece is a silence. If I
were a poet, I would inscribe words there." Here Casanovas too, but such impossibility!
The silence is complete. Only stressing of materials is
exciting, but
why should I buy their pieces when I can go to Winslow and buy petrified wood as
big or bigger than I can lift, already stressed?
The stressing of
materials echoes
Mono-ha, unaltered ephemera. 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 of 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" might not
obscure that design.
Whether preceding the made, made in the making, or
found after in breaking, an archeological scrub is a mere time constraint,
for should there be time no
longer, to further the Biblical, if then, then now, time is a
convenience for those who talk.
If no time, then
what maker,
not to deny the work, merely to say nothing, certainly not thank you for
saying, it is good. Judd died so
rich he started the Judd foundation in Marfa. That's where poet Robert Creeley got
sick at Lannan Foundation in order to die in Odessa. They later made
I Love Dick there.
I got out a pit fired Papago pot from the
old indian trader
Kermit Lee. 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. 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.
2014 and after --"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."
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 ceramic
walls]. 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.
We are going 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:
Of the influence of Franz Kline: "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." Reading that Franz Kline's black and white paintings with tunnels and
roads stems from his childhood in Wilkes Barre and the coal mines makes
me wonder at the influence of that house along the railroad where we
lived from 5-16. Especially the early years, starting 1947 the trains
smoke was not scrubbed. What was later white was black as soot,
especially where the freights had to go up a gentle rise we live in the
middle of. There were two tracks, only freight trains, that went to and
way from the Pennsylvania Railroad train yard a few miles down. This was a big operation hillsides undermined by coal extraction prevented development.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.
***
Malcolm Davis:
Their glazes were basically feldspar with a little ash.
The secret of carbon-trapping is in one ingredient: soda ash. My particular glaze has
about 18% soda ash. Many shinos have no soda ash at all and are glazes used by potters
who do not want carbon-trapping and are searching for a more traditional Japanese sur-
face. I love those pots, but I am obsessed with carbon and soot.
reduction pulls the oxy out of the glaze that was grown in, sulfide to sufate
Note on celadon: a little tin oxide and/or barium carbonate will help with the blue color.
|
John Mason |
The common reduction fired Shino glazes in North America are mostly
gloss or semigloss, fat, white crackle glazes with some orange to red
and dark red from iron in the clay body or iron slips under the glaze.
Shinos were born in Japan as almost pure high fired feldspar glazes.
Shino on porcelain requires underglaze iron bearing slips, or in-glaze
iron (i.e. from an iron-containing kaolin). Shinos are fluxed with soda
spars and nepheline syenite and do not contain calcium because it
dissolves the iron and inhibits the red color. Shinos usually do not
have added silica, the silica being contributed by the feldspars and the
clays in the glaze. Some Shinos contain Spodumene, which may be added
to balance the high expansion soda spars. A simple Shino recipe is 70%
Nepheline Syenite and 30% Kaolin. Shino
Iron Glazes
After: I have done this in clay than I did in glass and words. The world is before us, but the pot remains after. Ask what he will do tomorrow if he had success today-what are you working on, as they do all novelists. The answer is there is no time and what is done is done before, during and after.
First titled: Unloading the Last Reitz Wood Kiln, 20 Jan 2014