Oil and charcoal on plasma-cut steel, 84″ x 14″ x 2″
Calligraphy Two, oil and charcoal on plasma cut steel, 59″ x 19″ x 2″ each
Pushing the boundary between painting and sculpture, this one part of a two-part piece evolves gestural mark-making into steel sculptural form. The durable, outdoor material of the form is contrasted by the more buy cialis canada pharmacy fragile, subtle surface of the piece, detailed with oil, chalk and ink.
Paired with Calligraphy One:
Oil and charcoal on plasma-cut aluminum, 30″ x 60″ x 60″ each
Looking at process and totality, these two domes consider the concept of opposites as two parts of a whole. The shapes originated from one 4″x4″ calligraphic ink drawing that was made into a repeating atlantic pharmacy hexagon. The shapes were cut from aluminum, and the positive shapes make “Heaven” and the negative shapes make “Hell”. Heaven is axial symmetry. Hell is non-axial symmetry. The artworks go together as a set.
Now to get the pieces how to buy tramadol back to Austin in time for E.A.S.T.! Hope that’s less of an adventure than getting them to Santa Fe.
I tried out arches, octagons, hexagons, pentagons and quads, finally settling on a finalist that I nicknamed “genie” as a hexagon positive for heaven. I liked its line quality and its dynamic shape as a single, a double, and a hexagon. And I liked the negative shapes it left on its remaining sheet. I tried several different arrangements of the drops to make a hexagon negative for hell. I think I found one I’m interested in, and imagine it will change a bit once its made to scale. Part of the process is planning the best I can, and being open to change and improvements.
My fabulous helper Andrea Grimm helped by projecting and cutting out the stencil, and spray painting the stencil onto the sheet of aluminum buy cheap tramadol online full size. We made a few adjustments as she worked. It was really cool to get to explain my process to her and let her go at it. She’s smart. She also helped with the math: I’m good at geometry, she’s good at algebra. She left me this lovely simple note: C=16, D=C/pi, C/pi=piD/pi D=5.093, R=2.55, sweet!
In the bottom photo, the shape on the left is the “heaven” piece, and the shape on the bottom right is the start of the “hell” piece. The dome is a finished piece of art called “Moon” that is a 5″ hemisphere that I used as a scale model of a 5′ dome.
Tomorrow I’ll post a picture of the stenciled, flat sheet metal, ready for bending into a half circle.
Andiamo: This body of work reengages my research of Roman architecture. I study mathematical proportion, path, axis, and patterns in plans and elevations of buildings. I am interested in how these spherical clusters relate to human scale, as diagrammed by Vitruvius. I want to understand how a sacred spaces are created architecturally and sculpturally.
These artworks are abstractions of real buy tramadol c o d architectural buildings from the Roman Empire. They are models for large-scale sculpture. I am interested in the paint and texture as a response to traditional surface decoration of domes in architecture. By constructing these shaped surfaces, I am creating sacred space for my own painting and drawing practice.
Installation of Yellow Emphatic, Quattro Blue Steel Rendering, Yellow Emphatic Painted with Oomph, and Quattro Blue, with original sculpey shapes, collaboration with Todd Campbell for forged work
Oil on wood, 44″x12″x24″, 1998