My post-surgical dog is keeping me at home this morning until he perks up a bit and I feel safe leaving him on his own.
The Sensate is still here, so I can work on her this morning.
This piece is a big struggle for me. Now I’m getting rid of the pink and yellow by covering it with something called “sculpture bronze”. Maybe I’m hoping that by using something with the word “sculpture” in it, this will start to look more like…a sculpture.I’ve added some bells to the back of her neck, and a few other places on her body. The bells on the back of her neck signify the experience I’ve always had, since a very young child, of having a bell sound emerging from the base of my brain when I’ve been in situations that were dangerous or potentially dangerous to me. When I was quite young, the bell was very loud, as loud as a school bell, but as I aged the bell became quieter, more subtle. I guess I learned to listen to it. I recall the first time I heard the bell, wondering where the sound had come from, and I think this bell was in part responsible for directing my thoughts towards recognizing selfhood. The bells don’t ring unless there is motion; I’d like to figure out how to make them ring without me having to nudge them.
In the studio at CVAG, I’m able to rearrange things a bit and continue to repair the pieces that broke on the way over.
Called “Riding the Wrong Beast”, this piece refers to those times in life when I was going full force in what turned out to be the wrong direction for me. “Frustration, Anger, Restlessness” also broke on the way over to the studio today. This figure, unnamed, now has blue boots. I set up the Apocalypse Theatre today. Apocalypse, from Greek, means something like “a sudden lifting of the veil so that truth is revealed”. In contemporary times, we don’t tend to use that word to talk about truth. I moved six of the Major Aspects into the theatre space. The veil is now installed here as the backdrop. I have a couple of other backdrops, but I wanted to work with the veil idea for the rest of this week, at least. I put stickers on all the figures so that I can learn/remember their names. These six Major Aspects are the ones not on wheels; the other six have been moved onto the floor in front of the theatre. It felt to me like the Two-Headed Heron needed to be up higher, so I moved it up onto some stacked boxes. The six Major Aspects on wheels are pulled into the front of the theatre. This drawing is not in the studio; I started it this morning as I was working on Sensate. I seem to need to move back and forth between this project and drawings of a woman in red shoes. In fact, the drawings are probably part of the whole project, and one of the chorus members is the reclining woman in red shoes. I’m trying to decide whether or not to bring my drawing easel into the CVAG studio, but I don’t want to bring everything here, as I won’t have anything to work on at home. This particular drawing is of course unfinished, but I know what the idea is, and what lines I’ll be adding when I return home.And this is the figure with red boots, a result of the drawings I have been doing of figures in red boots. This photograph was taken at home; today she is in the studio and I patched up some of the cracks on her body. I watched a short video about how to sculpt ears. Neither of the two pieces I’ve sculpted with modelling clay have ears. I need to address that.
Spätblühendes Künstlertagebuch 