Bill Mould: Sacred Texts
I love writing on art. I love clay that looks old and like pages. Bill's works drew me to them. The display of these pieces here is evocative, takes me exactly to a "discovery" of something wonderful. I like the stories I can create from it.
Below is his piece, From the Dead Sea: Exodus. I like the way the two pieces are joined, the earthy colors, the imprints, the thinness of the clay at its edges, and that it seems to "float" on the wall.
Today I'm going up to ArtOMatic for a dinner of pizza and to join a group of folks talking about their work. Because the first 25 of us get to speak about our presentations, there is a time limit of 5 minutes. Works for me! I get to see art through the artists' eyes, hear creation stories, get to know them better through their work and their own take on it. Then tomorrow I go back up for ArtOMatic Marketplace – buy and carry. We have 27 very diverse vendors. I coordinated the whole thing because I wanted it to happen. I'm looking forward to seeing how it goes. On the way up today, I will stop at Sea Scapes in North Beach – she's wants to see my "earthy" jewelry and some more fish. I have begun to make fish again. They are different, a bit, than before which makes total sense given it's been an easy year since I've made even Ugly Fish. I think I've take a bit from them and incorporated it into the regular Fish and am happy with the outcome, not bored as I thought I might be.
D.E. Hurlbert: They Never Came from the Diaphonous series.
This piece is haunting. All of his work had images of people superimposed on them – I'm not sure of his technique, but it is dreamy and sad at the same time. This is my favorite.
On his catalog page, Hurlbert says: "Location is key to each work, suggesting what needs to be questioned. Do humans need to flee their environment, do they need to hide, or do they need to embrace their surroundings? Each location provides many ways to interpret the major theme of the project" which is to question one's "perception of man's [sic] time and place on earth."
Below is Emily Chimiak's Memories Cast Down from the Trees.
Another haunting picture – must have been one of those days when that was what was pulling me in (which is why you really must go to ArtOMatic way more than once – what you see will be based on where your head is that day.
thought for the day: One method of releasing those deep, unconscious images is to suspend the impluse to impose meaning and connections, trusting that the images that flow out of the unconscious stream will be those most highly charged with significance. Steve Kowit In the Palm of Your Hand
4 Comments
I love your art pieces. I found your site from a link from a link. I will put it in my favorites to investigate at my leisure.
Too bad you don't have a little camera that could record your five minutes of fame; then you could put it here on your site.
still no outgoing mail server… grr
re: tiles with a resin covering; i messed with different coverings; wondered about some kind of resin – which makes more sense; but settled for this indoor-outdoor non-gloss coating which I already have. although it says it is suitable for outdoor I certainly wouldn't put mine outdoor or near humidity at all. For my tiles I think that the gloss would make it impossible to really focus on what was going on with the tile.
I LOVE Bill Mould's work – thank you for sharing it with us. As a book artist I always resonate with the 'book' form. One of my early inspirations for book art was seeing a book made of glass – the words etched on the glass and the pages which actually turned. I work in fabric which is completely different from glass or clay – but the whole idea of the book as art is really exciting to me. Even though I wasn't there, its been wonderful seeing Artomatic through your eyes and words.
your thought for the day is so true!!