Throwdown at the Hoedown.

 

 

Christopher-Michel_flickr_Web

Fantastic image from Christopher-Michel_flickr_Web. Interesting article here: //goodnature.nathab.com/larsen-ice-shelf-breakoff-our-future-in-ice/

“If there was ever an example of humankind being unable to bear too much reality, it is the current debate on climate change.” John Gray

Antarctic Leviathan, 45cm L x 23cm H x 12cm D.

I have been following the fascinating progression of Climate Change for 35 years. At last it is a main-stream subject. It’s intriguing how a small number of people are still trying to avoid seeing it, the deniers but mostly the avoiders. It is terrifying, lethal. Our doing and responsibility. The prospect of shifting the habits and habitats of our gigantic population is exhausting.

So a narrative has slowly emerged from the progression of sculptures (rather than the other way around), beginning during The Landscape Series. I wont interfere with that. I will record what I see, let the clay take the lead, research areas I need more information on, add music and follow the road. This is how I have always worked. But this time there is far more clarity.

Antarctic Harbinger I, 20cm H x 33cm L x 19cm D.

Throwdown at the Hoedown

A trichotomy of the Earth, the Guardians of the Aquasphere, the Lithosphere and the Atmosphere arose and they, and their Sentinels and Harbingers took on characteristics that the many life-forms of the Biosphere could relate to so that all would understand what was happening; They were going to let loose their forces. This was not to threaten or  punish. They simply knew it was time.

Rebecca Buck osprey Studios

Arctic Guardian and Harbinger, 70cm H x 37cm W x 24cm D.

The three spheres cover all that is water, stone or air. At first that seemed simple. But the three over-lap all over the place. And combining with sunlight, they build the whole of the Biosphere that they nurture and threaten.

Arctic Harbinger, 33cm L x 13cm H x 12cm D.

Steven Foote’s stunning photographs from The Landscape Series seem to contain the whole mysterious narrative, characters and all, I refer to them daily and they will continue to be the bed-rock of the Series.

Rebecca Buck Osprey Studios

Bracelet Bay, Swansea, Wales UK. by Stephen Foote

The key there became the beautiful, evocative forms left by water as it passed over rock and the land, an echo of it’s own shapes. This, coupled with intense news from the Antarctic about accelerated melting and glacial movement has kept my focus particularly on the Aquasphere.

The Aquasphere

It is changes with water that cause the most upheaval to the Biosphere. Water holds centre stage in the atmosphere’s massive weather events. More often than not it is at the forefront of dramatic episodes in the lithosphere: mud-slides, sink-holes, erosion and sometimes the provocation of volcanos.

Water takes so many forms: flowing (fresh and salt), vapour, ice. Each has a range of characteristics. The primary character is the Leviathan but there are many others involved.

Rebecca Buck Osprey Studios.

Antarctic Guardian I, 33cm H x 83cm W x 36cm D.

Rebecca Buck Osprey Studios.

Antarctic Guardian I, 33cm H x 83cm W x 36cm D.

Rebecca Buck Osprey Studios.

Antarctic Harbinger II, 13cm H x 26cm W x 14cm D + base.

Rebecca Buck Osprey Studios.

Antarctic Harbinger II, 13cm H x 26cm W x 14cm D + base.

Rebecca Buck, Osprey Studios

Mountain River Sentinel, 69cm H x 39cm W x 28cm D.

Rebecca Buck, Osprey Studios

Coastal Harbinger II, 43cm L x 29cm H x 22cm W.

Rebecca Buck, Osprey Studios

Mountain River Harbinger, 37cm L x 21cm H x 19cm W.

Rebecca Buck, Osprey Studios

Mountain River Sentinel, 69cm H x 39cm W x 28cm D.

Rebecca Buck, Osprey Studios

Coastal Harbinger, 35cm L x 23cm H x 16cm W.

Rebecca Buck, Osprey Studios.

Leviathan VIII, 56cm H x 97cm L x 28cm D.

Rebecca Buck, Osprey Studios.

Leviathan V, 45cm H x 65cm L x 23cm D.

Rebecca Buck, Osprey Studios.

Leviathan V, 45cm H x 65cm L x 23cm D.

Rebecca Buck, Osprey Studios.

Leviathan IV, 35cm H x 61cm L x 29cm D.

Rebecca Buck, Osprey Studios

Mountain River Sentinel, 69cm H x 39cm W x 28cm D.

Rebecca Buck Osprey Studios.

Mountain River Guardian, 36cm H x 67cm L x 42cm D. Landscape Series. Cupola Contemporary Art Gallery, Sheffield, UK

Rebecca Buck Osprey Studios.

Mountain River Guardian I, 36 cm H x 67cm L x 42cm D.

Rebecca Buck, Osprey Studios.

Leviathan IX, 35cm H x 60cm L x 25cm D.

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Leviathan II, 2015, 53cm H x 79cm L x 36cm D, ceramic.

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Leviathan II, 2015, 53cm H x 79cm L x 36cm D, ceramic.

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Leviathan II, 2015, 53cm H x 79cm L x 36cm D, ceramic.

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Leviathan II, detail, 2015, 53cm H x 79cm L x 36cm D, ceramic.

The Atmosphere

At first I was seeing atmosphere simply as sky. Weather, especially the fabulous, awe-inspiring kind like hurricanes. But the atmosphere is every where, filling every gap, breathing life into the world, even under the ocean.

For this reason the Osprey is it’s main form.

Rebecca Buck Osprey Studios.

Antarctic Osprey II, 39cm H x 50cm W x 50cm D.

Rebecca Buck Osprey Studios.

Antarctic Osprey II, 39cm H x 50cm W x 50cm D.

Rebecca Buck Osprey Studios.

Antarctic Osprey II, 39cm H x 50cm W x 50cm D.

Rebecca Buck Osprey Studios.

Osprey IX, 13cm H x 18cm W x 11cm D +base.

Rebecca Buck Osprey Studios.

Antarctic Osprey I, 12cm H x 46cm W x 13cm D +base.

Rebecca Buck Osprey Studios.

Antarctic Osprey I, 12cm H x 46cm W x 13cm D +base.

Rebecca Buck Osprey Studios.

Antarctic Osprey III, 17cm H x 57cm W x 32cm D.

The Lithosphere

The Lithosphere, the geologic, stony part of the world has The Wyvern, a shape-shifting dragon that has taken a number of forms so far.

Rebecca Buck Osprey Studios.

Guardians of the Valley, 30cm H x 67cm W x 26cm D.

Rebecca Buck Osprey Studios.

Guardians of the Valley, 30cm H x 67cm W x 26cm D.

Rebecca Buck Osprey Studios.

Wyvern IX, 14cm H x 38cm L x 15cm D.

Rebecca Buck Osprey Studios.

Antarctic Harbinger and Sentinel, 28cm H x 17cm W x 13cm D + base.

Rebecca Buck Osprey Studios.

Wyvern XI, 13cm H x 20cm L x 16cm D.

Rebecca Buck Osprey Studios.

Wyvern, 11cm H x 15cm L.

Rebecca Buck Osprey Studios.

Wyvern, 11cm H x 15cm L.

Rebecca Buck Osprey Studios.

Wyvern, 11cm H x 15cm L.

Rebecca Buck Osprey Studios.

Wyvern X, 12cm H x 21cm L x 11cm D.

Rebecca Buck Osprey Studios.

Wyvern X, 12cm H x 21cm L x 11cm D.

Rebecca Buck Osprey Studios.

Wyvern X, 12cm H x 21cm L x 11cm D.

The Biosphere

I  started looking at forms and ways to describe the Biosphere’s part of this story. ‘The Land’ sculptures started in The Landscape Series but this was different: it was no longer just the form and far more the theme of vulnerability. Change in the Natural world is  wonderful, a miracle. Frequently spectacular. And terrifying, heartbreaking, sometimes to dreadful to countenance especially where the Biosphere is concerned. But there is also belonging, the perfect fit of life grown out of the combined trinity of spheres. Nurtured, protected, watched over.

Rebecca Buck Osprey Studios.

Biosphere Sentinel II, 23cm H x 48cm L x 28cm D.

Rebecca Buck Osprey Studios

Biosphere Sentinel II, 23cm H x 48cm L x 28cm D.

Rebecca Buck, Osprey Studios.

Biosphere’s Guardian I, 22.5cm H x 22.5cm W.

 

As with all my posts I will add to them over time as things develop. Here’s some links  to interesting, key parts of the research so far for the Throw-down at the Hoe-down:

26 years ago I left New Hampshire with my first son in my arms, new CD’s of Bela Fleck in my suitcase and returned to the UK. This extraordinary music sustained and developed my work  for 15 years. Steve Vai and later a wider variety joined Bela. But this track, Bigfoot, is the key and the seed that has lead to this new Series:

Bela Fleck’s Throwdown at the Hoedown seems like the perfect title for this new Series and a fair way to honour all his music has given me, so I’m going to go with that for a while.

This fascinating article by Randall Morris about Masks describes the process that I am trying to work through here. I have learnt a great deal from Randall since joining Cavin Morris Gallery. His amazing collection and beautiful writing brings clarity to, and pin points the essence of, what is important in art. I am an animist by nature and it is my job to portray what I see but the distractions can be over-whelming.

Published on May 6, 2016  

Short essay by Randall Morris

Animism: informative article by Sarah Anne lawless. 

There is a ‘modern’ resistance/confusion to animist ideas. The waters are muddied by spiritualist ideas, religions and fantasies. It can be difficult to avoid distractions when you are working on this kind of sculpture. The process is intuitive and free-flowing. Expertise with well organised techniques allow for that by managing the clay’s weight and ceramic requirements leaving the maker and material to associate with minimal restraint. I’m not taking a political, moral or religious stand. I’m just doing my thing, same as always, doing my bit to get the sculpture made. That feels very important to me and I don’t need to know why.

But none the less I keep informed on new science about consciousness in matter and enjoy the kinship and familiarity of Outsider art/ Art Brut. Having boundaries helps to weed out those irrelevant distractions.

Within animism there are many practices used to engage and interact with the spirit world, to put it over-simply. I’m not attempting that. My role is just to be part of it. A record keeper, perhaps, a chronicler to help my fellow 21st century folk maintain a link with the natural world.

Panpsychism: The idea that everything from spoons to stones are conscious is gaining academic credibility

How the Earth Made Us, a fantastic BBC 2 series by Professor Iain Stewart. And some fab clips from another series, Earth: The Power of the Planet.

Awesome iceberg video. I now collect these!

Climate change info with a really interesting, informative video of leading scientist, James Hansen explaining the findings.

Naomi Klien‘s fascinating and very readable book, This Changes Everything and the exciting, optimistic organisation of the same name.

The Up is Down Series.

 

 

The Landscape Series.

This Series is a collaboration with Photographer and Documentary Cameraman Stephen Foote.   Click on any picture to see it full size.

Stephen Foote and I met up after 30 years in 2014. We were good friends as teenagers, both rather disengaged with school, both making art in our own time. 30 years on we both still use art work as a major part of our interaction with this nutty world. Sharing our images was a key way we got to know each other again and harnessing that process in a joint project was simply a way of capturing what was occurring naturally. We set a straightforward ” Artists Respond to Landscape ” brief and kept a very open mind while we walked, talked, Steve took pictures and I just took it all in. We met every few months and sent each other pictures of the ensuing work in-between times.

Steve is also a Cameraman and was involved in filming for Panorama during the early, very heated phase in Kiev and the Crimea. I was coming to the end of the Up Is Down Series . Our first visit was Bracelet Bay, Mumbles, Swansea. Then we went into Porth Yr Ogof caves and had a mind-blowing day for me; we spent hours in the dark, natural cave while Steve took a fab series of photographs. I stood in the river in the darkness, held the lights and listened to the flow of water, felt the under-ground breezes. From there the project clarified for us as the travels of the water from the sky above the Brecon Beacons to the river, especially the Tawe, on down to the wide bay at Swansea, and out into the Ocean where much of it will return to the clouds and begin the circle again. As it flows it leaves it’s mark on the stone, the ground, the life it passes.

These pictures are roughly in sequence for the progression of work over time, with Steve’s photos next to the related sculptures in some cases.

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Rebecca Buck, Osprey Studios

Wyvern, 10cm H x 18cm L x 11cm D.

Rebecca Buck, Osprey Studios

Wyvern, 10cm H x 18cm L x 11cm D.

Wyvern X, 21cm L x 12cm H x 11cm D.

 

Water and Stone, Bracelet Bay, 2014, 24cmH x 56cm L x 33cm W, Marbled architectural ceramic.

Water and Stone, Bracelet Bay, 2014, 24cmH x 56cm L x 33cm W, Marbled architectural ceramic. Photo by Stephen Foote

Stephen Foote; Dunes

Stephen Foote; Dunes

Bracelet Bay, Mumbles, Swansea by Steve Foote

Bracelet Bay, Mumbles, Swansea by Steve Foote

in progress, July 2014

Wyvern I in progress, July 2014. 68cm H x 64cm W.

Bracelet Bay, Mumbles, Swansea by Steve Foote

Bracelet Bay, Mumbles, Swansea by Steve Foote

 

Bracelet Bay, Mumbles, Swansea by Steve Foote.

Bracelet Bay, Mumbles, Swansea by Steve Foote.

It was this fabulous picture of Bracelet Bay that shifted me abruptly into figures, much to my own surprise. The character of the Wyvern developed while making the public sculpture the Balarat Pit Marker in The Edge Series: the coal, a buried treasure to be used wisely or there would be consequences, watched over by a shape-shifting Welsh dragon.

Busts in progress, Aug 2014.

Wyvern busts in progress, Aug 2014.

Here the Wyvern is a guardian of stone.

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Wyvern V, 2015, 27cm H x 51cm L x 25cm D, black ceramic. Cavin Morris Gallery, New York.

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Wyvern V, 2015, 27cm H x 51cm L x 25cm D, black ceramic. Cavin Morris Gallery New York.

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Porth Yr Ogof Cave, Brecon Beacons, by Steve Foote, 2014. We spent hours down here and as I assisted the photography, standing in the river and pitch black, I felt the underground wind and heard all the sounds of water travelling through the rocks. Extraordinary. A living, breathing world of unparalleled beauty.

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Bracelet Bay, Mumbles, Swansea by Steve Foote

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Bracelet Bay, Mumbles, Swansea by Steve Foote

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Bracelet Bay, Mumbles, Swansea by Steve Foote

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The Wyvern III, 2014

Rebecca Buck Osprey Studios

Wyvern II, 2014, 69cm H x 54cm W, x 31cm D, ceramic. Photo Stephen Foote.

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The Wyvern IV, Sept 2014

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The Wyvern and The Leviathan. in progress, Sept 2014.

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Wyvern VIII, 2015, 39cm H x 71cm L x 34cm D, ceramic. Cavin Morris Gallery New York.

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Wyvern VIII, 2015, 39cm H x 71cm L x 34cm D, ceramic. Cavin Morris Gallery New York.

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Wyvern VIII, detail. Photo Stephen Foote.

Rebecca Buck Osprey Studios

Wyvern VIII, Cavin Morris Gallery New York. Photo Stephen Foote.

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Water moves from one sphere to the next in all it’s forms, changing everything it passes. On heavy, stormy days here in the Brecon Beacons it careens in sheets 10cm deep across the grassy hills, colliding in the streams and rivers to tear down towards Swansea Bay. It drops through the gaps and cracks it has left in the stone to the fabulous caves it has been cutting for Millenia. Standing out in the middle of all this you can see the mountain ponies, uncompromising, resolute and beautiful. They became the Guardian of the water, the Leviathan, in it’s mountain form.

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Leviathan V, 2015, 11.5cm H x 25cm L x 9.5cm W, ceramic. Photo Stephen Foote.

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Leviathan VI, 2015, 12.5cm H x 21cm L x 8cm W, ceramic. Cavin Morris Gallery New York.

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Leviathan V, 2015, 11.5cm H x 25cm L x 9.5cm W, ceramic. Photo Stephen Foote.

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The Wyvern and the Osprey, 2014.

The Osprey followed as the guardian of the sky.

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Stephen Foote Photography.

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Osprey II, 65cm W x 50cm H. Photo Stephen Foote.

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Osprey II, 65cm W x 50cm H. Photo Stephen Foote.

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Osprey I, 40 cm W x 25cm H.Photo Stephen Foote.

Steve’s landscape photos unify everything exquisitely, portraying a vivid place with such clarity you can feel it around you. My sculptural response inevitably, and with some regret, separated the features which got me thinking more carefully about their connections.

The  sphinx-like form and majesty of the Brecon Beacons also showed up first in the Balarat Pit Marker. A classic sculptural motif, the reclining  figure, with it’s many options for themes. Like the complex internal aspect of the Beacons complete with breath, life (water) running through veins in the rock, hidden secrets, moods, supporting of forests, wildlife, and us since the dawn of time. The subtlety of age: the Beacons are especially ancient and have been many things in their past. ‘The Land’ sculptures are about this part of what we saw.

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Rebecca Buck Osprey Studios.

The Land II, 21cm H x 52cm L x 27cm D. Cupola Contemporary Art, Sheffield, UK.

Rebecca Buck, Osprey Studios

The Land VIII, 21cm L x 12cm H x 11cm W.

Rebecca Buck, Osprey Studios.

The Land III, 15cm H x 43cm L x 12cm D.  

Rebecca Buck, Osprey Studios.

The Land IV, 15cm H x 26cm L x 14cm D.

Rebecca Buck, Osprey Studios.

The Land I, 24cm H x 65cm L x 19cm D.

 

At this point the Series branches off into new territory lead by images and news about Climate Change rather than Steve’s photos and my local landscape. I have been following the fascinating progression of Climate Change for 35 years. At last it is a main-stream subject. It’s intriguing how people are still trying to avoid seeing it, the deniers but mostly the avoiders. My guilty secret is that I see it as thrilling: nature rejoicing in it’s power and spectacular magnificence, the wonder of transformation. Throwndown at Hoedown is an ongoing Series now.

This fascinating article by Randall Morris about Masks describes the process that I am trying to work through here. I have learnt a great deal from Randall since joining Cavin Morris Gallery. His amazing collection and beautiful writing brings clarity to, and pin points the essence of, what is important in art. I am an animist by nature and it is my job to portray what I see but the distractions can be over-whelming.

Short essay by Randall Morris

The Up is Down Series  proceeded The Landscape Series and was a transitionary point in how I put together forms, particularly in relation to their bases. The research involved clarified my thinking and ability to see.

Most of the sculptures in The Landscape Series are built with the technique explained in Heads and clay armatures.

Studio Diary: The Marking Time Sculpture at Bronllys Hospital, Powys.part 4.

Working on a large scale means returning to the same form everyday for months. So you need to be sure about the design.

I’m really pleased with the scale of the Marking Time Sculpture. It is within the human scale range so that the embrace and  eye level of the dragon and the kite/guardian’s wings will feel very personal.

Marking Time scale model.

Marking Time scale model.

Osprey Studios has a flexible layout and a solid floor so that anything up to 6m x 3m can be built there which keeps costs down.

Osprey Studios has a flexible layout and a solid floor so that anything up to 6m x 3m can be built there which keeps costs down.

The base foot print was painted on the floor in red and the outline of widest/deepest edges painted in blue to check that there will be space to work around the forms. The largest section is set on blocks to give the height of the eye-line. The other 2 sections are on wheels for easier access. The base footprint is painted on the boards in blue.

I always miss my wonderful Volunteers from past projects at this point. But it is a lot easier to be building in my own studio. Advancing decrepitude means some of my systems for moving heavy loads around lack dignity. And I can loose myself in the curves.

Areas are kept wrapped in plastic to keep the drying even. When you add new clay you need to allow time for the water to re-balance itself down the form. A large piece will be holding gallons of water.

Areas are kept wrapped in plastic to keep the drying even. When you add new clay you need to allow time for the water to re-balance itself down the form. A large piece will be holding gallons of water.

I am building the armature of the piece. The final surface will be added to it so I need to keep the clay at the best stage of hardness. Scarva ES50 Crank holds its water really well while still being very strong at the leather-hard stage.

I will be adding a lot of deep texture and modelling so these armature walls are very thin. In places the lines and curves of the final form are showing.

There is an internal support structure made of clay that will stay in place during the firing. It will help to support the sections when the sculpture is cut up so you need to plan them well in advance. Other materials like foam and wood are used inside just long enough for the clay to stiffen. External supports can be anything. They will need constant adjusting to accommodate shrinkage. I have a treasured collection of heavy-duty props and oddly shaped bits of wood.

There is an internal support structure made of clay that will stay in place during the firing. It will help to support the sections when the sculpture is cut up so you need to plan them well in advance. Other materials like foam and wood are used inside just long enough for the clay to stiffen. External supports can be anything. They will need constant adjusting to accommodate shrinkage. I have a treasured collection of heavy-duty props and oddly shaped bits of wood and memory foam.

The lines of the supports can be distracting.

The lines of the supports can be distracting.

2/3 of the way up. But the forms are not complete, especially width-wise. You see the movement starting in the curves of the central space. I'm using the sound-track from The Legend of Korra to keep the theme consistent across the weeks of work.

2/3 of the way up. But the forms are not complete, especially width-wise. You see the movement starting in the curves of the central space. I’m using the sound-track from The Legend of Korra to keep the theme consistent across the weeks of work.

Enflamed at Cavin-Morris Gallery, New York.

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Being invited to join this beautiful, sensuous, soul-reaching collection made my day. Some of my favourite Ceramists like  Melanie Ferguson and Monique Rutherford show with Cavin-Morris Gallery. Their introduction to their site made my week;

“Cavin-Morris Gallery has been exhibiting world artists for 30 years. We specialise in the work of self-taught artists whose work is made independently of the art world canon yet participates equally on the wall or pedestal. We represent the new generation of self-taught artists whose work remains authentic and visionary while representative of contemporary times. We also feature important works from preceding generations of self-taught artists including Jon Serl, Bill Traylor and Emery Blagdon.

We show an eclectic selection of tribal art from all the major regions of the world focusing on the unusual and the formally surprising.

Another focus is on textiles of the world, including South East Asian costumes an textiles including tribal China, and Japanese Boros: futon covers made over a period of a hundred years from cotton patches and threads.

Our newest department is a developing interest in Contemporary ceramics both functional and non-functional. We are especially interested in the way ceramists push the envelope of traditional form sand cultures. We show Western ceramists as well as Japanese, Chinese and Korean work.

The common thread that connects all this art is its uniqueness, its integrity and authenticity, and its reflection of cultural home-ground. The Contemporary artists we represent extend the continuum established by the self-taught and Tribal artists into a new and exciting multi-tiered arena.”

This article explains it perfectly; ‘A Chelsea Double Feature; Paper Meets Clay On “Homeground’s” Turf’ by Edward M Gomez.

1977362_10207300528654376_2230692460964721983_n View the stunning Catalogue here.

 

Melanie Ferguson extra ordinary pots encompass the universe and lead you beyond your borders.

Melanie Ferguson extraordinary pots encompass the universe and lead you beyond your borders.

 

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Mitch Iburg‘s stunning pots leave me breathless with wonder.

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Mitch Iburg. All the mountains of the world are honoured here.

. 

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Sarah Purvey ‘s pot in the for-ground of  the beautiful display at Cavin-Morris Gallery.

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Cavin-Morris Gallery, New York City, USA.

Cavin-Morris Gallery, New York City, USA.

Cavin-Morris Gallery, New York City, USA.

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Cavin-Morris Gallery, New York City, USA.

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Wyvern V, black ceramic, 26.7 x 50.8 x 25.4 cm. Rebecca Buck.

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Wyvern VIII, ceramic, 39 x 71 x 34 cm. Rebecca Buck.

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Up Is Down VI, ceramic, 20 x 49 x 31 cm.

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Leviathan VI, ceramic, 12.5 x 21 x 8 cm.

This is a selection of images taken by Cavin-Morris Gallery. Go to the Gallery site  to see more beautifully presented photographs of these Artist’s  pieces and the other astonishing work by the Artists represented by this exceptional Gallery. The links from each name here on this post will take you to more information about each Ceramist. I will add more images as I get them.

Sculpture by Rebecca Buck at Cavin-Morris Gallery, New York City, USA.

Sculpture by Rebecca Buck at Cavin-Morris Gallery, New York City, USA.

 

Studio Diary; The Landscape Project, part 6, Review so far…

It’s the end of the 1st year and time to take stock. You can see the earlier parts of the story via the Contents page. Click on any picture to see it full size.

Stephen Foote and I met up after 30 years. We were good friends as teenagers, both rather disengaged with school, both making art in our own time. 30 years on we both still use art work as a major part of our interaction with this nutty world. Sharing our images was a key way we got to know each other again and harnessing that process in a joint project was simply a way of capturing a what was occurring naturally. We set a straightforward ” Artist Responds to Landscape ” brief and kept a very open mind while we walked, talked, Steve took pictures and I just took it all in. We met every few months and sent each other pictures of the ensuing work in-between times.

Steve is also a Cameraman and was involved in filming for Panorama during the early, very heated phase in Kiev and the Crimea. I was coming to the end of the Up Is Down Series . Our first visit was Bracelet Bay, Mumbles, Swansea. Then we went into Porth Yr Ogof caves and had a mind-blowing day for me; we spent hours in the dark, natural cave while Steve took a fab series of photographs. I stood in the river in the darkness, held the lights and listened to the flow of water, felt the under-ground breezes. From there the project clarified for us as the travels of the water from the sky above the Brecon Beacons to the river, especially the Tawe, down to the wide bay at Swansea, and out into the Ocean where much of it will return to the clouds and begin the circle again.

These pictures are roughly in sequence for the progression of work over the last year with Steve’s Photos next to the related Sculptures.

Bracelet Bay , Stephen Foote.

Bracelet Bay , Stephen Foote.

Up Is Down- in progress

Up Is Down- in progress

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Up Is Down- in progress

Up Is Down- in progress

Up is Down IX, 57cm W,

Up is Down IX, 57cm W,

Stephen Foote; Dunes

Stephen Foote; Dunes

Bracelet Bay, Mumbles, Swansea by Steve Foote

Bracelet Bay, Mumbles, Swansea by Steve Foote

in progress, July 2014

in progress, July 2014

Bracelet Bay, Mumbles, Swansea by Steve Foote

Bracelet Bay, Mumbles, Swansea by Steve Foote

in progress August 2014

in progress August 2014

Bracelet Bay, Mumbles, Swansea by Steve Foote.

Bracelet Bay, Mumbles, Swansea by Steve Foote.

It was this fabulous picture that shifted me abruptly into figures, much to my own surprise.

Busts in progress, Aug 2014.

Busts in progress, Aug 2014.

Bracelet Bay, Mumbles, Swansea by Steve Foote

Bracelet Bay, Mumbles, Swansea by Steve Foote

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A narrative developed that was also influenced by the awesome storms of the previous winter. A trio of figures, the Guardians of the Aquasphere, the Lithosphere and the Atmosphere, arose and they and their Harbingers took on characteristics that the  many life-forms of the Biosphere could relate to so that all would understand what was happening; The Triumvirate were going to let loose their forces. This was not to threaten or  punish. They simply knew it was time.

 

Brecon Beacons, by Steve Foote.

Brecon Beacons, by Steve Foote.

OLYMPUS DIGITAL CAMERA The Atmosphere in the form of an Osprey.

 

Porth Yr Ogof Cave, Brecon Beacons, by Stephen Foote.2014

Porth Yr Ogof Cave, Brecon Beacons, by Stephen Foote.2014

 

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Guardian of the Atmosphere, The Osprey

 

The Wyvern and the Osprey, 2014.

The Wyvern and the Osprey, 2014.

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The Wyvern, Guardian of the Lithosphere.

 

 

 

Frame-works for The Wyvern IV and, in the back ground, The Leviathan.

Frame-works for The Wyvern IV and, in the back ground, The Leviathan.

The Lithosphere has The Wyvern, a dragon that has taken a number of forms so far.

The Leviathan in progress, Sept 2014.

The Leviathan in progress, Sept 2014.

The Wyvern and The  Leviathan. in progress, Sept 2014.

The Wyvern and The Leviathan. in progress, Sept 2014.

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The Wyvern.

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Bracelet Bay, Stephen Foote.

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The Wyvern.

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Bracelet Bay, Stephen Foote.

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The Wyvern.

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Osprey.

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Wyvern

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Leviathon

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OLYMPUS DIGITAL CAMERA Osprey.

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Leviathon

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Wyvern.

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Wyvern

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Wyvern

The Guardian of the Aquasphere took on the form of the Mountain Ponies that run free in the Beacons.OLYMPUS DIGITAL CAMERA _F148186 _F148023 _F148792 _F148797 OLYMPUS DIGITAL CAMERA   _F147964   OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA _F148811   _F148835  _F148822   _F148837

It has been a fantastic year in the Studio; I am harnessing the narrative and collective sides of the monumental Community Sculptures of the last 13 years. But I’m free to use any scale. The architectural clays I use have given me the freedom to go anywhere in space. My amazing collection of Sculptor and Ceramist friends, from all over the world, on Facebook have encouraged and inspired me enormously. I’m settled into my lovely big Studio ( and gotten over the shock of having it at last!). Stephen and I communicate very well and we egg each other on.

Many thanks to everyone who has visited the work over this last 6 weeks and given invaluable advice and feed-back.I will continue with this series of sculptures until it is done.

We will start a new project focussing specifically on the passage of water from the mountains to the ocean along the  Tawe Valley. We are partnering with some Public art venues and setting up some Community participation to widen our perspective. We will  visit  a small Coal-mine and the Open-cast mine. Only a few years ago, on the 15th of September 2011, 4 men were killed in a dreadful accident at Gleision Colliery when their mine was inundated with water. Making the Pit Markers in Blaengarw, I heard about these type of accidents but, like everyone else, I never thought such a thing could happen here, in this century. From just below the Studio down-wards the River has an extra-ordinary history in the Industrial Revolution.

Neither of us have any idea where this will lead. We feel confident that we have something with substance and a great deal of potential and we have found a work-method that is productive and sustainable. I know from past projects that the community will come up with all sorts of treasures that will lead us into work that is far richer and more interesting than we would make alone. We will trade Workshops in photography and ceramics for input from community groups and individuals. It will be a fun process. We need images, stories, myths, legends,  history-including the ancient history and favourite,  special spots on the river or tributaries.

Studio Diary, Landscape Project, pt 5.

The Leviathan in progress, Sept 2014.

The Leviathan in progress, Sept 2014

Frame-works for The Wyvern IV and, in the back ground, The Leviathan.

Frame-works for The Wyvern IV and, in the back ground, The Leviathan.

The second framework has become the Leviathan, the guardian of the Aquasphere as The Wyvern is the guardian of the Lithosphere. I will make more versions. These will have a pale gold colour. Next I will make a larger Osprey, guardian of thew Atmosphere, in the same  clay(Scarva ES50 Crank) and then move to the black clays and re-do the set.

The Leviathan in progress, Sept 2014.

The Leviathan in progress, Sept 2014.

The Wyvern and The  Leviathan. in progress, Sept 2014.

The Wyvern and The Leviathan. in progress, Sept 2014.

 

Studio Diary, Landscape Project pt 4.

The Wyvern IV, Sept 2014

The Wyvern IV, Sept 2014

The frame-work for this one was much more developed and lead the form. I made a second one so I could keep the flow going around the drying periods but I didn’t need to break from Wyvern IV; it was strong enough.

Frame-work for The Wyvern IV.

Frame-work for The Wyvern IV.

This is asking a lot of a clay. But this is Scarva ES50 again and reckon I’ll get away with it.

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