The Ship Galapagos

"Galapagos"
Copper, enamel, brass, glass, mixed media
14x23x6"

Yesterday I finished a ship that I've been working on for several weeks. It is the most ark-like boat that I've made to date. I wanted it to represent the journey of my life so far. Along the way there have been memories and experiences that I have kept close to me, and they are represented by the bottled "specimens" lined up on the top deck. There are talismans too, etched in brass attached to the deck just below the glass vials. In my mind they protect and also bring good spirits. I've always loved the idea from generations past, that words / letters / symbols placed 'just so' within a circle can have such powers.

Glass vials with talismans below

The "bumpers" on the side of the boat are some kind of seed dyed red - I found them at the local florist. One of those things that sit around in the studio until, at last, you figure out how to use them.

Red seed "bumpers"

The big wheel cover is a photo I took of some local chamomile weeds, along with a tiny starfish and, of course, tiny vertical stacks of the planetary signs (for my hope that there will be guidance in the days ahead of my journey).

Inspirational Glass Etching

Several weeks ago while cruising around Pinterest, I happened upon the work of glass artist Andy Paiko. Wow! Nice work. Mostly I love his imagery and the layout of those images that he has etched into his glass vessels. Cycles of the moon, planet symbols, and line-work images of insects and animals, to name a few.

But I  am also inspired by the juxtaposition of the clear glass to the bone, coral, etc that he puts inside the vessels. It seems scientific, mysterious and precious all at the same time. Perhaps a message about our evolution?

More of Andy's beautiful work can be found at his website.

Miniatures

Some quick little guys.

Finishing the Copper Riverboat

I finished up  the copper and enameled riverboat "Queen Bee" this last week. I took some pictures along the way to help show the process.

I completed assembling my large and small cabins and now want to attach them to the deck of my hull. I figure out where I want the cabins to be and then braze 1/4" pipe segments to the hull and cut holes in the tops of the cabins where these pipe segments will come through.

Then I braze the pipe segments to the top decks of the cabins. This holds the cabins to the deck.

In the case of 2 cabins stacked, like above, I braze it on the lower cabin first and then put the top cabin on top and braze it in place.

Next I'll either hide the brazed ends sticking out of the cabin tops with a chimney, or use the end to support a flag pole. In the picture above you can see where the process of brazing the chimney onto the front small cabin left a black carbon mark. I remove that by placing the entire boat into a solution of Etchall, which not only removes the carbon but also takes the high gloss of the enamel down to a matte surface. One more thing before that final Etchall bath, I attached the copper wire railings to the deck.

To give the back caster wheel a place to attach, I brazed a bit larger copper pipe in place under the deck. This is one of those instances where I get out the two part epoxy and put a fair amount into the pipe and then slide the caster wheel rod into place and hold it until the 5 minute epoxy sets up. Next I added some striping to the small cabins by adhering decals to them.

Finally, a finished riverboat!

Copper & Enamel Riverboat

Last week I started playing around with making boats again. I think I have a love of boats that is here to stay. Yet each time I revisit my ship making, I always like to experiment with new proportions just to keep things interesting. This time around I found some images of old tin toy riverboats that called out to me. Then began the process of figuring out how I might assemble such a structure. Here in shorthand is my thinking.

First the hull structure (the long narrow piece) and the top deck. I like to use a card stock for figuring out the pattern because it can be taped together with scotch tape first to see how it works out.

The challenge with that long hull piece was making the curve just right for the stern and then torch-firing it. A pretty awkward piece to handle. Then I brazed it to the deck. Wheels are attached with a threaded rod through holes drilled in the hull.

Next were the wheel covers (the half circle with brazed sides). The graphics on the wheel covers are created in Photoshop and then output onto an inkjet decal paper. Tiny screws attach the wheel covers to the hull.

The white enameled top cabin came next. I cut all those windows out with a jeweler's saw (lord!). The cabin isn't attached yet, nor are any of the chimneys. I need to create 2 more smaller cabins. I just have paper place holders in for them in this picture, but the pieces for them are laying on the desk.

The brass caster wheel will be used in the stern underneath. I have a support in there now just as a stand in. I'm thinking the caster connection will get hidden under the small back cabin I have yet to make.

More to come... 

Ceramic Heads

I spent four days this week creating heads for future pieces in low fire white clay. Making heads for me is always a big challenge. What expression will they have? How big? Because the clay still feels so new to me and I seem to get fearful that nothing will come out right (I do find this part of myself annoying), I tend to just Dive In. I don't have any idea what I'm after except creating a face that I am curious about and feel a kinship with emotionally.

I also try not to get too attached to any one just yet,  as they could still blow up in the kiln or the glazing will turn them into something (someone) I don't want to work with. Crazy, I know.

So as I get these off to be bisque fired I wish them all the best of luck! Come back in one piece everyone!

Photographing Artwork

First off, let me just say that I am not a photographer. I have come to the place of photographing my own work out of frustration that those photographers that I have used and loved in the past have all retired! Well, that's not all of it. Actually, there is the cost issue and the immediacy issue too (as in having to have a photo of a piece right now). Also, I do think with digital cameras these days and Photoshop, it's easier than it used to be to shoot one's own work.

So I thought I would show my very humble method and set up.

I bought a graduated backdrop last year from B&H Photo, which I go back and forth between really liking and then not so much. I'm liking it again right now, especially since I have white ceramic heads on most pieces and dark copper bodies. The gradient holds both.

I also bought a digital camera last year that I love. A Fuji X10. I got it on Ebay used and it's worked great! My lighting system is daylight and only daylight as you can see from the studio photo above. I have a white translucent window shade (Ikea) that I pull down and a tripod. In the case of some of my wall hung pieces, like this one, I hang it off of two wires mounted to the ceiling. Then, if needed because the piece doesn't hang perfectly, I attach a string to the base of the art and pull it forward until it looks the way I want and attach the string to a weight on the floor to hold it.

Overcast days work best for lighting. Easy to find that here in the Pacific Northwest.

I shoot the photos in RAW format using the 'Automatic' camera setting and bring it into Photoshop CS6 on my iMac OSX. My shots done like this are almost always pretty awful looking when I first bring them into the computer. An example of awful below:

YUCK!

See, very blown out. But after I open it in Camera RAW on the computer, I start adjusting. First I adjust Exposure, then Contrast, then Saturation, then Vibrance, and then Clarity. I have to say that the magic adjustments for me are typically Exposure and Clarity. They save my behind.

"This Light of Mine"
Copper, ceramic, enamel, brass, mixed media.
30x21x3"

Then I save the RAW image as a tiff and open it again in Photoshop to crop as needed, also erase my hanging wires and pull-string using the clone tool. Then I consider it done! 

I'm still wanting to buy a softbox for a light on a tripod and play with that, but haven't quite gotten there yet. Perhaps this year. It would also be nice to control my lighting on those little copper letters just a bit more too. So the journey is definitely ongoing...