Showing posts with label oil on wood. Show all posts
Showing posts with label oil on wood. Show all posts

August 25, 2008

"Sally Ride"

The first woman astronaut went to outer space in our life time. Things certainly are moving right along. This mobile was made in 1984 for a show about domesticity. I had thoughts about mobility, changing sex roles, and the convergence of cultures.

August 20, 2008

Studio Wall, Spring St., NYC, 1980

I lived in a ground floor loft between Mott and Elizabeth Streets. It was like a cave. Only one window/door at the end of the space... a great artist studio. Louise Nevelson lived in building diagonally across the intersection. I would see her cruising around the neighborhood in a gigantic old station wagon, always with those eyelashes and gypsy babushka. I was acquainted with her assistant. He would have to coax the old woman into the studio when Pace Gallery called asking for a few more pieces. I was working on themes of "The Figure in Geometry": Circus, Baseball, Gymnastics. I liked the idea of planar cut outs and how a plane when rotated would disappear into a line.

August 19, 2008

"Gold Fish Table"

In 1981 the Spring St. loft had a resident stray cat. "Luther" would go in and out, up and down the fire escape when he pleased. I have a vivid teen age memory of a Mad Magazine issue that featured sculptures made to the exact specifications of children's drawings. The art of Al Held and Joseph Albers was also in my head and heart when I made this.

August 17, 2008

"Looking For Love"

I am fascinated by geometric projections. The ambiguity has a resonance to issues in life. The peacock must be the most beautiful creature in existence. In the Hindu religion it is also a symbol for the validity of all religions. Even atheism is accepted.

August 16, 2008

"Grecian Urn Table"

The notion to make perspective unusual and possibly change the way we look at things was exciting. I took two courses at Yale: Chinese Painting of the Sung, and Japanese Narative Scroll Painting. The Asians used paralell orthagonals to express a world that was expansive. This contrasted sharply with the Western use of converging orthagonals and one point perspective, where the viewer was the center. What would it mean to have the orthagonals diverge? An other worldly space is created. Byzantine icons frequently use this divergence.