Body: Jive Body and Cat Body; Music: making musical instruments from gourds

But first…some music. Try Dorothy Ashby. In my musical explorations, I came upon the harp playing of Mary Lattimore (contemporary American harpist), which took me to a BBC radio show (available on the BBC app called BBC Sounds) called Late Junction, hosted by Verity Sharp. In the 29 October podcast is a Mary Lattimore mixtape, introduced by Mary Lattimore, and featuring a number of harpists who influenced her own development as a harpist. The mixtape features harp greats like Alice Coltrane and Dorothy Ashby, the latter of whom was active in the 50s and 60s playing “afro harp”, and “jazz harp”…

If you don’t really like harp, the playing of Dorothy Ashby or Mary Lattimore or Alice Coltrane may change your mind.

Here is a link to Dorothy Ashby on the album “Hip Harp”, from 1958.

And here is Alice Coltrane in a late career harp solo:

And here is a link to Mary Lattimore’s 2016 album called “The Withdrawing Room”. I chose to include this one instead of her more recent “Silver Ladders” because I’m more familiar with it, and I love the atmosphere it creates – I listen to this while in my studio. Beautiful.

Jive Body

Continuing on the theme of “body”

I made this for my friend Lynda, who is a dancer. It’s called Jive Body; I don’t think she jives. But she would if she could. Maybe she used to.
Lynda asked me what the wire was for, what she was supposed to do with it. I told her that it is both an energy receiver and an energy transmitter, and that she should/could attach the wire to whatever she wants…including the air. I think she should connect to the harp music of Mary Lattimore.

Cat Body

Gourd Project update
The gourds have been washed in warm soapy water. I chose these four gourds for their exterior appearance. It’s not a sure thing that all of them (or any of them) will “make it” through the drying process, which takes six months, but I’ll work with what I get.

Here is a reminder of the process I’m following to dry the gourds.

After these have dried, I’ll cover them with rubbing alcohol and then put them on a open-to-the-air (indoors) drying rack for a week before removing them to a somewhat darker and cooler space where they will wait for six months. That will take me to the end of April, just in time for a summer project. In the meantime I’ll research and source the materials I’ll use to build the harps that fit across the cut gourd, the type of skin/s that I can use to cover the open side of the gourd, and the types of materials that I might want to use as strings or other percussives that will vibrate to make sounds.

I am not a musician, nor do I have any experience as a luthier. But I love sound. Right now as I write this post I’m listening to Mary Lattimore’s album The Withdrawing Room. Here is the link again, just in case I can tempt you.


Entities in the Photo Studio; Torso photos, and a couple of New Entities

This week I had the opportunity of getting into the photo studio and setting up the full complement of clay entities I’ve been working on. I’m still trying to understand all the settings on the camera, but I’ll be back in the photo studio again next week to take photographs of the entities in smaller groupings.

This is the whole crew of Dreamer and the Dreamed; the teal figure upper right is the receiver of the dreams.

The dreamer is on the far left; the entities are the dreamed.

Torso Project

A Couple of New Entities

Cat Body and Jive Body
Jive Body

Assemblage of entities into a tableau: “desiderium”, Loveletting, Sons of an Illustrious Father, poems, Odyssey

The word “desiderium” means “desire, characterized by grief, because the desire can never be met”.

This tableau that I pulled together out of various elements is meant to represent the entities surrounding a person in their last hours. The first photograph, which tries to capture everything, is a fail, so I’ve added a number of other photographs to focus on some of the individual elements. The shell hanging in the middle is a pendulum and the small book covered in cellophane is a book of poems called “Loveletting”, in which each of five poems is an attempt at loveletting, a word based on the concept of bloodletting. A band called Sons of an Illustrious Father has a song called “Loveletting” (lyrics here:, and here is a YouTube video of the song by the actual band (sound, no visuals:, but other than that I could not find it mentioned anywhere on the big bad interwebs. I used the word and then later found the song by Sons of an Illustrious Father.

Desiderium (full on view)
Desiderium (with focus on far left entity and poetry booklet)
Desiderium (with focus on silver entity and reclining figure under light blanket)
Desiderium (with focus on far right entities)
Desiderium (with focus on shell pendulum)
Desiderium (reclining figure with wires)

Music, Skateboarder, a new Entity based on a drawing, catastrophic water event, lyre-making

Here is the music, sort of. I love Laurie Anderson, and I love the idea of making my own instrument, something that has no preexisting rules for how to play it, and something that is not necessarily tuned to any currently used scale. I’m not sure if that is possible. But I’m going to try.

Catastrophic Water Event

This is a short post this week, in part because I’ve had problems with the plumbing in my condo, with plumbers, ServiceMaster folk, and building management traipsing around in here. I’ll spare you the details, but let’s just say that my life has been disrupted and I’ve not been feeling that great. Mostly I’m riddled with worry.

The skateboarder is now lashed to a plexiglass rod in an attempt to create “air”. I have to continue to build it up with the plasteline, but I know I’m stalling on this because I don’t really like where this piece is going, and it feels like I might put in a lot of work for nothing. So, that will require some strength of will that I didn’t have this week.
Here’s another view of the skateboarder on the plexiglass rod. I drilled a 3/4 inch hole in a piece of wood which will become the stand for the piece. I think the rod is probably a bit too high, so I’ll cut it back a couple of inches. I’m thinking of getting a 1/4 inch rod for the angelfish.

This skateboarder is part of an assignment in the sculpture class, as is the following piece that I worked on while the plumbing was making life horrible. Generally speaking, I love working on long-term projects, ones that I have to put together piece by piece over a long period of time. However, I also need smaller projects to work on at the same time, so that I get some feeling of accomplishment along the way. This is why I have the two projects running side by side, and then of course the lyre-making project, which makes it three projects.

From above, this piece is based on a watercolour drawing I did in 2019. Like this sculpture, the drawing is simple, and my purpose was/is to capture the posture of a person in the final hours of their life. This figure is lying on a simple bed and in a position that he has been placed by a care aide.
In an earlier phase, I just really wanted to capture the simplicity of the end of life. As I watched my father dying months before I drew the original picture that this is based on, I was struck by his breath, how even as it seemed that most of everything else about “him” had shut down, his breath kept entering and exiting his body, and then it seemed that it wasn’t even “his” breath but that it was what I started to think of as “life”. And I kept thinking, watching the air go in and out, that “life wants to live”. After he stopped breathing, his heart continued to beat for another ten minutes.

All life really wants is to live. A convenient metaphor right now is to think of the breath of life as a virus occupying our bodies until our bodies give out.

Here is the original drawing, which I called The Yellow Rose. The yellow flower in the window is meant to be a rose, and I placed it there because my mother had loved yellow roses, and I imagined her, in the form of that rose, to be in the room. My father outlived my mother by thirty years.

So, the skateboarder and the small sculptures I’m making here are both part of my sculpture class. I have proposed to make a life-sized skateboarder, using my grandson as my primary model, and 100 “entities”, these small sculptures made of air-drying clay. 100 is an arbitrarily chosen number, but I chose it because I consider myself to be a slow learner, and I’m hoping that by the time I get to the 100th entity, it might actually be pretty good. Also, when you do multiples of things like this, set a goal of 100, that gives room for what I do and how I do it to change and evolve, which may be the same as saying that I might get better. Ideas beget ideas. It’s addictive.


Making a lyre is a longer term project that is not necessarily attached to any course I’m taking, or going to take. I introduced the project in an earlier post, and have since managed to find some squashes to turn into gourds to turn into lyres.

I also bought some strings for an eight-string ukulele. The next step is to clean and sanitize the squash, put on a screen to dry for six months, and then once dry, hollow them out and start to prepare for covering with a skin.

Next steps for lyre making:

find skin for covering

design a “harp” structure to be placed over the skin which is covering the hollowed out half-gourd. The process I’m following for making the harp is described in an earlier post, and while that maker cut out and shaped pieces of wood for his lyre, I’m going to look into other possible materials to use for the harp part of the lyre, and because I love working with figures so much, I’m going to see if I can make the harp structure look like figures instead of just pieces of wood.

Here is a photograph of the “harp” part of the lyre. This is attached to the gourd, and then strings added to the harp. What I’d like to do is design and make these three pieces as figures instead of merely functional pieces of wood holding the lyre together.
This is a short youtube video showing the lyre maker playing his handmade lyre. Paul Butler is actually also a musician, and wanted his lyre to be playable.

Assemblage (assignment), Bacon Grease, Two New Figures, Entities on a Window Sill, Working with Sausage Casing, Lyre-Making Progress, The Skateboarder and the Angelfish Progress (another longterm assignment)

I gathered together these five items and MIGHT make an assemblage from them for FIN 140, Creative Processes.
Bacon Grease on the bottom of a pan.

I made two more entities this week. They each have a set of wings, although it’s difficult to see them in these pictures. More to come.

Last year I saw some art that used sausage casing…hmmm…I can’t recall who the artist was, so I’ll have to look that up and update this post later, if I can find her.

I want to use sausage casing for the wings on this second entity, so before diving in, I did a test.

I grabbed a random piece of wire and twisted it, also randomly.

I then cut off a piece of sausage casing from one of the strings of casing, dipped it in water, and wrapped the casing around part of the wire, to see what would happen.

The casing immediately became very difficult to handle as the water made it very slippery. Next time, a bit less water before wrapping it around the wire, and maybe use tweezers to handle the wet casing.

I dabbed a small amount of blue acrylic paint (Golden transparent phthalo blue green shade high flow acrylic).
I like the way that the blue infuses the cracks of the sausage casing. I think I’ll try doing the same thing with some watercolour paint to see what the difference is. I left this to dry overnight.
This is what the dried sausage casing with dried acrylic paint looks like this morning. I like the look, but will also try using watercolour paints to see if I can get a subtler look.
Sausage casing infused with watercolour cobalt blue hue is a much better fit for the entity.
Entity is painted and one wing has been added. Paint will be repainted and details added.
Entity is painted.

Entities on a Window Sill

This morning’s rising sun looked great on the entities on the windowsill, casting shadows on their bodies and reflections onto the window behind. Well done, Sun and Entities!
The orb of an interior light fixture reflects onto the window, providing a backdrop for the entities.

Lyre-Making Progress

I’ve found a couple of squashes to turn into gourds, and one, or both of them, will become a lyre. I also have a set of eight strings ready. This project will likely take me a year or longer. Updates kept here.

The Skateboarder and the Angelfish

I made this watercolour drawing in 2019.
Here’s the armature for the first maquette. The long term goal is to create a life-size sculpture, using duoMatrix-G. Right now there are two test pieces of duoMatrix-G sitting outside to see how they fare in the weather. This armature will be covered with Plastilene, which will allow me to change the configuration of the arms and legs because as an oil-based non-drying clay, it will not harden. After I decide on the position of the body, I’ll make another armature with the “final” posture, and use LaDoll clay and work on more accurate body proportions to see how it all works together.
Here is the armature with some Plasteline on it. The pants need to get narrower at the ankles. I can work on that on the next armature, as well.

Skipping Man, Horse (maybe? no. not yet), school stuff, and lyre-making research

Remember this hanging blue figure from last week?

Well, I gave it a body and a HEAD! Oh my gosh, his head is awful.

Wrinkles on his forehead.

The cat mostly ignores me until I start to work on these figures. Here the cat is starting to chew on the small copper coloured wire bits that I inserted into the end of the scarf as tassels.
This view shows the Skipping Man with his feet glued to the base, and the base partly painted with bronze paint. The front foot is surrounded by LaDoll clay. I know better; I should keep the feet to the end and put the wires from the armature into drilled holes in the wood. Having to stabilize the figure this way with paint containers while the glue dries is not really the right way to do things.

The scarf has been painted, but I still have a few more details to add on the scarf, and I need to remove the paint containers and paint the rest of the base.

At this point I’m starting to get excited about putting on the finishing touches and looking at the whole ridiculousness of what I’ve created.

And, and, and…

Art School stuff:

one of the courses I am taking (I am taking two) is called Creative Processes. The first assignment is to make an assemblage.

I had an assignment which I documented elsewhere (in an actual physical process book, and on my school blog), so I won’t include all the process documentation here. But here are some photographs I took along the way.


My Modern Met, from June 9, 2017, has a full article with photographs of wire sculptures. I’d like to get to the point where I can work JUST in wire, and have it look good. For now, though, I’ll continue on the current trajectory until I’ve learned everything that I want to learn.

I can’t include the link to the Met here, because the Met doesn’t seem to allow itself to be linked to (?).

Last year I thought I’d like to try to make a lyre. I found a great website describing how to do so, and I put the idea aside until this fall, when I’d be able to find some gourds at the market.

How to make a lyre with a gourd:

How to dry a gourd:

Tardigrades and other stuff including the cowpoke, the horse, and the opera singer

I don’t actually have much new to add this week. I started school AND I was really tired so I took too many naps.

But, I did “finish” the cowpoke, and here are some photographs of the cowpoke, and then some with the cowpoke and opera singer.

You can just see one of the spurs in front of the green. I had to embed the cowpoke’s feet into a bed of stones, all held together with glue gun glue. The boots feel apart at one point, so I also had to rebuild them. The belt buckle has an “A” on it, put there not to stand for my name, but because the capital letter “A” is so fun to paint.

I modelled the hat on a stetson that I saw on the Stetson webpage. I like how I managed to keep the ears sticking out of the hat. Everything is really rough, lots of cracks, uneven coloration. I’m torn between thinking its not good enough and thinking that I love the imperfections, that anyone playing with this cowpoke will not only be in relationship with the “toy”, but also will be aware that there was a “maker”, also with imperfections.

I have a thing about “perfect” toys, mass produced or not.

Here the cowpoke is about to lasso themselves an opera singer.
shadows and reflections…
After I put the cowpoke and the opera singer on the shelf to marinate, I started to make a little wire dog. Under the wire dog are two paint brushes marinating in coloured water. Bad bad.
I also pulled out an armature I had made a couple of weeks ago. I had planned to return to this AFTER making the horse, but apparently I’m stalling on the horse (haha, unintended pun).
I added a skipping rope to the blue figure and hung it from a lamp. I’m really drawn to those “ropes” and hanging figures…because they move, or have the potential to.
As soon as I picked up the clay for this figure, my fingers immediately started to work differently as they applied the clay to the body. I wasn’t as focused on defining the limbs; rather, I started by creating clothes on the figure. It felt really different, and maybe that’s why I needed to sleep for a few days before returning to the figures.
I embedded a tiny stone in the figure’s chest.
Well, um, I really like doing this. Glad I found a retirement hobby…but I also have another hobby in retirement:

DIGRESSION in which I received the following TM:


Interesting to note in the above screen-shot that all but one of my crypto choices are (were) in the red. Also interesting to note is my total investment is just over $200. I know my limit!



So, I went to my first class in FIN 140 this past week; our first assignment is an assemblage. Here is what I have done so far to get ready. We are to gather up 4 – 5 non-precious objects, do an object analysis, and then bring them to class with various connecting devices such as string, tape, glue.

(I’m taking two classes this fall, and I suspect there may be some competition between what I WANT to do and what I HAVE to do for my assignments. Lots of naps.)

Object #1. Found in a ditch, and is apparently a connector piece to hold together sections of temporary fencing. I love my ditch finds.
Object #2: A doll I bought at a thrift store several years ago. I have a box of such thrifty dolls, and I pulled her out for this project because she has a very weird face.
Object #3. I don’t know what this is really, but I think its for gas lines. Or maybe water? I like it because those two black things move. And because it has the word “no” on it…heh, or likely that’s the word “on”.
object #4: this is a tiny bottle I found on a beach. It may be too small for this project.
Object #5. A thrift store find several years ago, I like this because it still works. It too might be too small for the project.
Object #6: the top of a much longer bottle. I forgot to take a photograph of the whole bottle because I got distracted…as I will demonstrate below.
Doll looking through bottle #1
Doll looking through bottle #2
Doll looking through bottle #3

And then, because I was into taking photographs of the doll, I kept going…

Poor thing is merely a repro.
But she has a great face and doesn’t seem to mind her status as a repro. I detect a slight smile on her lips, although her eyes look a little deadened.

I wonder what is in the light in the middle of her eye?

Okay, enough with the doll already. But I’m putting these pictures in here to remind myself (if I ever read this again) that I tend to get carried away with figures, especially human (doll) figures. Because yeah, I had a lot of fun on Friday night taking those photos.


Tardigrade Research

A New Type of Tardigrade (2018)



Because I have quite a bit of human hair, and because I’m currently working on model figures, some of which have hair, I’ve been curious about how to best add the hair to the figures. Last week I made the opera singer, who has long grey hair, but I just fumbled around with attaching hair to their head. I thought it might be a good idea to find out a better way (better ways?) to work with hair. The following video is a start in that direction. It actually looks really easy.

“My Imaginary Friend”, an opera singer, a cowpoke, a horse, and a conflict…

I returned to an earlier painting I had been working on, but which got covered by a black cloth and so I forgot about it. Much of this week has been about returning again and again to this painting, adding layer after layer. It started out as a charcoal and pastel drawing, but morphed into an acrylic painting. 16 x 22. The last time I posted it, it looked like this:

Figure with container next to it.
After another layer, it looked like this.

In this iteration, I addressed the container on the right, starting to give it more definition again.
The container on the right turns into an entity.
I want to return to this piece and enhance the lime green of the figure on the left.

Opera Singer With a Cowboy (and a horse)

The other thing I’ve been working on is the Opera Singer With a Cowboy. Here are some progress shots.

I have a lot yet to do on both figures, but especially the cowboy: hat, belt buckle, maybe some chaps? But definitely the cowboy needs a horse.

When I resumed work on the above drawing/painting, I found another drawing beneath it, so I started to add to this one, too.

Last spring, Angela suggest that I try videotaping myself while I am making something. Talk out loud, Anne, she said, while you are in your process, and record that too. The following two videos are attempts at doing that.

“The Disagreement”. While working on this piece, I was thinking about the differences in perspective between those who object to getting the covid vaccine, and those who have been vaccinated. It seems to be a conflict between emotional and logical arguments, and I can’t see how this can be resolved without coercion.

Research horses

I’ve had this sculpture since leaving home; given to me by my mother as I left home, as apparently I was the only one of the family who actually liked it. I’ve been dragging it around…no, actually, I love this horse very much. Today I decided to try to figure out (again) its provenance.

The original sculpture was created by P.J. Mene, and if this is an original Mene, I should be able to find his name on the right of the base. I can’t find his name, but I can see the first word of the title, which is Djinn.The full title of the piece is Djinn, Etalon Barbe and I think I can barely see the rest of the title.

The first word of the title, Djinn, is barely visible. But this is not an indication of the validity of this piece; Mene’s casts were also used in Russia, and Russian casts often include a Cyrillic inscription. I can’t find any Cyrillic inscription on this piece.

Here is a photograph of an “original”, in excellent condition. My sculpture is missing the fence (broken off many years ago when I was a child, maybe even by me?).


making a horse

Before I could start making a horse, I needed to understand both the proportions of a horse, and the relative proportions of the horse I wanted to make compared to the figure that the horse is intended to accompany (the cowpoke).

Using the proportions illustrated in the diagram above, I drew the following on a piece of scrap newsprint.

Using a diagram of a horse skeleton that is approximately the same size as the drawing, I started to bend some wire for the horse armature. I plan to make the skeleton armature as complete as possible, so will not finish this week.

Lola with Unicorn Rainbow Juice (hot chocolate with whipped cream and sprinkles)

Resumption after a break…to be a bit lazy

Today’s music is the album Bismillah (translates as “in the name of allah, spoken before any undertaking), by Peter Cat Recording Co.. Here’s a link to the album on Apple music.

No apple music? Try listening to this one track from the album, available on YouTube.

Liked that one? Try this:

The singer needs legs, so using canon of proportions to decide how long they need to be…roughly. Also pictured is the so far headless cowboy and the armature for a skipping as yet undefined figure. Lying beneath is sculpture #1, a reminder of what needed to change. Poor dear.
These legs seem right.
My new smartphone holder for making videos…if only I could find a pink skateboard & a Malibu beach tshirt.
Set up with blueberry jam in background
Sound on test of new video setup. (With broken weird glasses found in a ditch)
In this 28 second fast motion video, I’m preparing the legs by attaching them to the interior armature, covering them with smaller gauge wire to ready them for clay addition, and glueing them to frame. While doing this prep, I decided to have a seated singer, mostly because I didn’t want to have to solve the problem of an external armature/support. You can see that my cat is visiting me while I’m working, which I think attests to my concentration and emission of alpha waves…is that what cats love to bathe in?

In this quick video, another fast motion, I’m securing the legs to the edge of the dress with clay, then adding a ridge of clay along the bottom edge of the dress. While working, I decide to fatten the legs with the addition of aluminum foil. I hadn’t been thinking about that until this stage.

Adding aluminum foil. I know I used the word “fatten”, but really, those legs are damned skinny…
Legs…and a tongue!
A yard sale find…several baggies of real human hair…the grey seems suitable for this figure.
Refreshed eyes and tongue. The bright pink settled down into something more tongue-like by the next morning.

The bright green backdrop is part of the tripod kit I bought. The folds, I am told by the accompanying literature, will go away in time, and I’m not to iron them out (probably because the heat of the iron will melt the fabric). So, I’ve hung the fabric on the line where I hang the awaiting armatures, and will see how long it takes for the folds to disappear.
Anyway, the green is not meant to be a permanent backdrop, but merely a place holder so that I can edit the photos or videos that I make with the green backdrop by a background of my making or choosing.
So…the next step, is it to find editing software that I can work with, change the background, create “sets”, write the libretto for the opera, engaging all the characters in some kind of “processional”…because, yes, I’m thinking that the original wooden characters from FIN 131 are not only the inspiration for these current characters (who will likely be the inspiration for another cast of characters made with something else as I move forward), but also function as the prototypes within the opera that I write for them. Now, there’s a big statement…someone who understands very little about music is going to write an opera…hmmmm.

The gauntlet has been tossed on the ground…

Back to the cowboy, now…

Notes to self: This cowboy has animal ears. I think I added ears because I was too impatient to take the time to make a proportionate human head; it’s “easier” to create a fantastical creature because I don’t have to really pay attention to proportions, or getting something right. I seem to be more focused on making something a little bit strange looking, rather than making something “right”. Is this a fault? “Should” I be trying for perfection? I think this habit is in part related to lack of skill, but also related to lack of knowledge about how to work with the media I’m working with. How can I make things look better…for example, how do I get rid of or cover the cracks with this medium that dries so quickly? Could I be putting a coating of some other medium over the clay before I paint? Should I have a clearer sense of the outcome I am seeking, and work diligently towards that outcome, instead of letting myself go with what occurs to me as I’m working? For instance, I had intended and visualized a human cowboy, but as I was working with the head, I allowed myself to be distracted by a non-human head that was forming in my hands. Should I push against that tendency and guide my hands back to making a human head?

How do I get better working with the medium, yet maintain the “rough” look?

…some of the questions I ask myself while I am making relate to the struggle between process and product…

I find myself getting impatient to finish, and not only to finish, but to move on to the next piece.

Because there is a next piece, a new armature, waiting to be filled out. I create the armature for the next piece because I am “afraid” that if I don’t have something waiting for me to do, I’ll not do anything at all, I’ll lose the drive, I’ll lose the ideas, the creativity.

But by having the next thing to do on deck, I’m also in a constant state of excitement about moving on to that next thing, to see “what will happen next”, and of course to continue to build the cast of strange characters that is populating my apartment, and giving me amusing things to look at.

So, what’s this “amusing things to look at” about? Each piece I make is imbued somehow with the intentions I had for the piece, the process I engaged in to make the piece, the challenges and decisions I made about the piece, the thoughts I had about the characters and their personalities as I made them, and an excitement about how the most recent piece would “fit in” with the existing pieces. When I look at each piece, I can see the story of that piece.

I can’t overstate the depth of curiosity I feel about the growing field of characters that are filling up the upper reaches of my living space, and I imagine them moving around, dancing and talking to one another, coming alive. I find those imaginings to be entertaining, and I get a lot of pleasure from knowing that I have created those creatures who cavort, either while I am watching them, or just on their own without me.

I have a sense that I am not finished making these pieces, some more human than not, and some more not human, but imbued with human motivations yet not constrained by the mainstream of society…because of course they don’t won’t “fit in”, and so they’re free to be the goofy strange beings that they are. Lucky them.

Too much writing.

The opera singer is sitting behind me, the cowboy is on the table beside me. They would like me to write them an opera (libretto), and all the other characters need their lines, too.

How the heck do I do that? Write a libretto. Sheesh.

More Returns

But first, today’s suggested music. I’ve listened to Einaudi quite a bit, and these two numbers are a bit of a departure for him. I like where he is going in his musical journey.

Two returns of note.

I pulled an old drawing out of the pile of old drawings that I don’t like and started to add some colour to it. There is no date on the drawing, and no photograph in my files, which means I must have not seen any possibilities inherent in the drawing. Yet I tossed it on a table, and pulled it out and started adding to it. I still “don’t like” it, but have learned that me not liking something is a mostly meaningless response.

In this light, the charcoal looks a bit purple, but it’s just regular charcoal. Maybe the green does that, too.

I can’t recall my original intention for this drawing other than I love working with charcoal and I might have wanted to depict an ethereality between the figure on the left and the pithos on the right.
I’m not overly fond of green, so I often use it when working on something I am struggling with.

And I worked on a sculpture, adding some colour to its “wing-hands”; wanted to photograph the sculpture, and the only place that seemed like a good place to photograph it was on the extended arm-ature of The Sensate, the central piece from The Procession, which itself is a work in progress.

Here’s an older picture of The Sensate (nee The Watcher)
It’s terrible to try to photograph these things with so much visual noise around

Adding this new piece to The Sensate redefined the piece, and it now represents time, and so together, the piece is called Sensate Reaches Out to Time…it looks like time is escaping.

Even more returns…

I can’t help but take photographs of the figures hanging out in the windows. They look different every time I look at them in different lighting conditions.

Here are a few photographs of existing figures in the studio, seen in new light.

These two…I MUST take them outside for a photoshoot. I know they’d love that.
This one is up a little higher, so most shots make it look heroic.
These two cats get to hang out together.
A shot of the “left window” gang.
Early morning picture on my way to the bathroom. I had to stop to take photographs as they were calling out to me to notice them, their silhouettes.
These two are always on about something, chattering away to one another.
Sunrise pushes through the shutter slats and changes the drawing on the easel.
Sunrise shadows.
More shadow play

Today’s inspirational artist is Luo Li Rong. This link takes you to her Instagram page.


the carnyx