Blog Post #8- SOFA Chicago

‘Empathy is the most radical of human emotions.’ - Gloria Steinem




Speaking with Mary Ferazza about Social Practice Art and discussing the possibility of a future Shared Spaces event in Pullman, on the South Side of Chicago.

Speaking with Mary Ferazza about Social Practice Art and discussing the possibility of a future Shared Spaces event in Pullman, on the South Side of Chicago.

Talking with people conversationally about my work in an art fair or gallery show always seems to help me better understand my own process. I haven’t previously shown any of the flag pieces from Shared Spaces formally, but one of my long-time dealers was showing at SOFA Chicago sculptural art fair, and twisted my arm to bring two of the Shared Spaces studies. (Shared Spaces Study #1 and Shared Spaces Study #5.)  

The good news is they’re generating lots of dialog and there was that classic question yesterday: What was your inspiration?  Here’s a paraphrasing of what I was able to piece together:

Joanna Pinsky, leading an Art Encounter group at SOFA, spent several minutes discussing Shared Spaces Study #5 with me and her group.

Joanna Pinsky, leading an Art Encounter group at SOFA, spent several minutes discussing Shared Spaces Study #5 with me and her group.

“I’m responding as an artist to how things are out there in the US these days – to the fractured dialog, the mistrust and anger.  Here’s how it works: I bring my clay to communities around the US and invite people to bring and select objects which we help them to imprint into the Shared Space of the American flag.  This literally forms the mold into which we cast blended plaster and  ground marble to create a community-owned wall relief sculpture.

By pulling together these flag works, filled with all kinds of different meaningful objects and symbols, in communities which themselves may be diverse and filled with lots of competing values and points of view, I’m hoping to learn more about how these things can all live alongside each other in some kind of whole.  When you stand back and look at the piece, I hope you’ll also feel it—that it all comes together –all those bristling powerful symbols and objects are all there, but somehow you feel the whole.

“I was a Middle Child, so I know all about how to live alongside other people’s agendas.  That feels like it has something to do with Pluralism, Diversity, ways of accommodating all sorts of different ways of being American. My hope is that by participating in a Shared Spaces event, or by viewing these works, especially once we can get six or eight of them together in a room, with videos of people talking about the things they are choosing and why, that we can learn something more about all the different ways of being American.  It’s like America is an invention, and we have to keep figuring out what we are and how to do it, every generation.”

Visitors at SOFA Chicago, November 2018

Visitors at SOFA Chicago, November 2018

Art Encounter curator Joanna Pinsky discusses Bob Clyatt Sculpture Shared Spaces Study #5 at SOFA Chicago 2018, Maria Elena Kravetz Gallery

Blog Post #7 - Pelham, NY

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Pelham Art Center Director Charlotte Mouquin with Shared Spaces participants, October 2018

Pelham Art Center Director Charlotte Mouquin with Shared Spaces participants, October 2018

I realize that Shared Spaces is going to evolve and take on new forms over time.  This kind of thing happens a lot to artists:  we never quite know where a project is headed until it’s already happened.   Keeping a clear, crisp concept of an art project in my head has no doubt helped me get things done over the years, but often enough, the good stuff happens when I trip over it and suddenly realize I’m being led down a new path.



In this case I was down in Pelham, New York a few times this summer visiting an art friend from my building in Chelsea, Charlotte Mouquin, who recently left Rush Arts Foundation and took over the Executive Director role at the Pelham Art Center.  As Directors do, she asked me to create an artwork for their upcoming Gala fundraiser: a 12”x12” wall relief work in panel format that all the contributing artists were using.  Of course I said ‘yes’, thinking I would do one of my regular Cultural Landscape assemblages. A week later realized I could probably generate more fun for them if I created it with input from people there in Pelham. Then I realized if I just did a square flag fragment, (I wanted to work in their requested format)  it could work as a regular Shared Spaces event.  

Shane, helping unload the clay.  I’m always happy to have helpers, and give young people some old-fashioned work experience!

Shane, helping unload the clay. I’m always happy to have helpers, and give young people some old-fashioned work experience!




By the time dates were set for the first workshop, I’d already agreed to do a second one, and had been playing with various ways to get flag fragments into a square format.  I showed up with the clay already formed with the stripes, and we had a great afternoon in the courtyard of the Pelham Art Center with guests at their weekend events and people just walking by on the sidewalk.  As always, the kids get it right away which helps create buzz and gets parents and older people to come over and get involved. We filled up the two works nicely by the time it got dark, packed up everything, then Charlotte and I had a chance to visit some artists in their nearby open studios.

This visitor was a serious Harley fan, and even owned a vintage Harley from the 1930s!

This visitor was a serious Harley fan, and even owned a vintage Harley from the 1930s!







I took the pieces back to my studio, poured the plaster next day and cleaned them up in time for their gala.  I’m happy with the results – it was a nice, simple one-day project with the public imprinting of objects part, and the square format let me play around with star/stripe forms separately from the actual flag, which was liberating.  And I just learned the two pieces found buyers at their fundraiser, so now Shared Spaces is officially a way for communities to create works that raise funds for more art!

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Blog Post #6 - Greencastle Indiana, Parts I, II and II

Part I, Greencastle Shared Spaces

July 19-20: Getting to Greencastle

Here’s the short version: I arrived in Indiana exhausted from doing the LaGrange, Georgia Shared Spaces project, and - frankly - unsure of what I was actually going to accomplish during the residency. This was just 10 days after completing LaGrange, and all I knew was that I had two-weeks at Taleamor Park- a working farm with artist space in LaPorte (northwest Indiana). Residency contacts weren’t  pushing me upfront for too many specifics, so I arrived in Indiana and began to explore.

Artist Residents at Taleamor Park, LaPorte IN, July 2018. Myself, Jennifer Filardo, Cara Lee Wade and Allison Campbell. Resident owner/coordinators are Clifford and Lisa Lee Peterson

Artist Residents at Taleamor Park, LaPorte IN, July 2018. Myself, Jennifer Filardo, Cara Lee Wade and Allison Campbell. Resident owner/coordinators are Clifford and Lisa Lee Peterson





I started chasing down the obvious cultural institutions in the area. This meant sending inquiries to any local museums, including the South Bend Museum of Art in South Bend, IN. The director at the Museum got right back to me, (Good!) informing me that they tended to schedule shows 1-2 years in advance, and that she would mention my proposal to the Board in a month or so. (Hmmm….) I did reach out to one of the Board members through a mutual friend, but clearly not much was going to get accomplished during the next two weeks.

Let’s backtrack: what about Indiana holds significance for my artistic practice, and to me personally? I wanted to expose myself to Farming America: tractors and corn and barns were something I’d driven past but had little direct experience of. It would be hard to understand America without spending time in farm country. And I’d wanted to at least visit Greencastle, Indiana – about three hours south of my residency, since four generations of my grandmothers had lived there. Wherever possible I’m trying to do Shared Spaces projects in places my ancestors have lived, a way however tenuously of connecting my urban coastal self to all these other American communities.

Vintage tractors are a big draw at the Putnam County Fair

Vintage tractors are a big draw at the Putnam County Fair

As always when setting up a project, I start with a local arts or cultural institution. There is a museum in Greencastle, but it covers local history, not art. Of course nearby DePauw University has great resources on the campus but like so many colleges, social practice art within the local community is not really aligned with their curatorial priorities (the university leans toward the international postmodern/conceptual).  Plus as it was July, no one was on campus - to say nothing of the general ambivalence on both sides of the the town-gown relationship. So I wasn’t too optimistic, but since I had time and had wanted to see the town anyway, off I went.

View along farming roads as I traveled back and forth between LaPorte and Greencastle

View along farming roads as I traveled back and forth between LaPorte and Greencastle

On the way into Greencastle I passed the Putnam County Fairground, a small-sized facility compared to some in the state. I noticed activity and stopped in to look around. There was a buzz about: 4-H club members, students who participated in farming and agriculture activities, were unloading their goats (adorable!) and leading them into the stables. I noticed a “Commercial Tent” set in a gravel parking lot where local vendors and non-profits could book space. The fair opened in two days. A quick look on the website showed an application form for those spots, but a chart on the wall showed they were long-since filled. It also listed a cell phone of Gene, the coordinator, and I fired off a call and left my pitch. Gene called back next day and, as I had hoped, someone had canceled last minute for the first two days of the fair.  Hooray for small town flexibility; I had my 10x10 space for the weekend – but now what? This was completely different than anything I’d contemplated before, with none of the support, institutional partnering, staff, or prior outreach. What might work?

Nobody can resist these goats- 4-H Fair, Putnam County, IN Fairgrounds, July 2018

Nobody can resist these goats- 4-H Fair, Putnam County, IN Fairgrounds, July 2018

I reasoned that if I made a mid-sized 18”x35” finished artwork from materials I’d brought to the residency that I would be able to move the piece around without a gantry - just with a little help from friendly neighbors. All I really needed, at the end of the day, was local people to participate in the creation - the “Voices and Choices” of the work. Where better to find local people than at a county fair? By spreading out objects related to American popular and commercial culture, mostly by scrambling around vintage stores looking for other “Indiana” related stuff like toy farm animals and a grain silo, I hoped I could get people to wander by and engage with the project.  I would just have to be the Jack-of-all-Trades: handling the setup, explaining the project, taking photos and video and adding each piece to the final Shared Spaces flag.  I raced the three hours back up to LaPorte, IN on beautiful country roads (straight lines through corn and soy fields with the occasional small town) stopping at every vintage and toy store along the way looking for Indiana-related objects. Then I moved all my stuff from my residency studio back into the car and scrambled back down to Greencastle. I set everything up just in time and prepared for the visitors.

Putnam County, IN Fairgrounds, July 2018

Putnam County, IN Fairgrounds, July 2018

Putnam County, IN Fairgrounds- July 2018

Putnam County, IN Fairgrounds- July 2018

Part II, Greencastle Fair + Shared Spaces

July 21-22

 

After the first day, everything seems to be working out. Greencastle is a low-key, tranquil place with a calm crowd. I am fitting in just fine. People have agreed to be filmed and they are making thoughtful choices for their contributions to the Shared Spaces sculpture. I’ve asked a lot of people to think about an object of their own in advance to bring in the next day, which I hope some will do, but even if they don’t they still have a few hundred objects to select from among. Things here seem to be progressing, albeit slowly.

 

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I only have the space at the fair for the weekend, and from what I hear this fair only gets people showing up late - from 4:00 to 10:00 pm. I begin to think I will not cast the work here – instead I’ll just take the clay as is, on its board, back to the residency in La Porte and do the casting, cleaning, finishing, drying, tinting and other steps there. It will be a good way to work through the second week of the residency, and at the end of it I will have a new piece.

 

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What I won’t have yet is an institution invested in the piece, nor any help making it, but based on the pictures and video I’ve gathered tonight I should have enough to plug into a potential exhibit on a national scale—Indiana is highly photogenic in an all-American. farm-culture sort of way. Between shots of other events and people at the fair, and atmospheric shots taken elsewhere on my travels around the state, I’m confident I’m able to give a feel for this community. Interviews with the participants also seem to be going well so far..!

 

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I am meeting a cross-section of the community, spanning from small-town drug culture to biker dudes, religious families, farmers and farm kids to students and a diverse, burgeoning Asian community. I’m motivated by having these diverse voices contributing to this artwork.

In any case I’m having fun here!  I find it really inspiring to see these young 4-H-ers who have so much responsibility for these animals, and I confess I like watching these old guys driving around on their vintage tractors. Everybody is calm and very matter-of-fact . Nobody else is even taking pictures. It’s just the way things are, and nobody has to make a big deal about anything… an unbelievably relaxed place.

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It’s the second (and final) day of the fair, and as the flag has begun filling up! I sneaked away from the booth for a bit to go around to the other fair exhibits, watching the families with their animals, and attending the public events. I wandered, taking photos and videos of contest finalists walking their animals in front of the judges and even witnessing a Tractor Pull.  Reviewing the footage, I captured some great stuff, and felt a bit like Sacha Baron Cohen (Borat) at the rodeo, or as though I was part of a PBS documentary team. There were only a few non-born-and-raised-Indiana folks who stopped by today: for one, I had a nice chat with a Japanese exchange student whose host family brought him there for a crash course in the American Heartland.

 

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What felt clear to me was that people here are pretty comfortable and deeply ensconced in who they are, and are not sitting around wishing they could be more like the “urban coastal elites”. Sometimes I suspect they know more about us than we do about them, bringing to mind the way Baldwin described black people who knew much more about white people than the other way around. Yet I understand the scenarios to be vastly different: in the case of rural populations, our media is brimming with stories about the lives of coastal and urban elites, but aside from Duck Dynasty and a few other shows, very little of rural, heartland culture makes it into the hearts and minds of urban elites via media programming.

 

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Why should this be the case?  There has long been potential for overlap:  Drive just a few miles from any major city and you’re in pick-up truck country. It may not be the Bible Belt or even farmland, but it’s still working class and at least quasi-rural. City-dwelling “elites” who have country homes encounter this shift all the time - why haven’t the cultures more fully intertwined? It is as if the country were imagined as vast swathes of blankness, held up on a scaffolding of comfortably derisive narrative.  It reminds me of something I learned while an expat in Tokyo:  it was a well-known pitfall when expats found themselves dealing only with those Japanese who were good English speakers:  The assumption was that one could know all that was needed about the department at hand, or even the Japanese people generally through dealings with this small sample of people, but these ‘cultural interpreters’ were themselves unusual or unique individuals, so generalizing from interactions with them, or relying on them for information about actual business issues or their Japanese peers was risky.  Is there a cadre of cultural interpreters, perhaps the painters and tradesmen and such who supply services to second-homeowners, or who work in service industry jobs in the Jackson Holes and Hamptons of the world, who unreliably fill in for the great mass of Red Staters? Where are these ideas and impressions coming from, filling in the minds of our coastal and urban elites when they think about farmers and working class Americans?

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What I do know, after a few days out here, is that I am privileged to have looked into an intricate, rich and fully-formed culture and community that has few if any points of contact with anything I have ever known or experienced. People who live here are just different from what I’m accustomed to. Their physiques and wardrobes are different, their interests are different, their cars are often different and their entertainment is vastly different. Their aspirations, definitions of success and failure, all line up differently than my own expectations: in fact, it turns out that Georgia was an ‘easy’ place to feel at home compared to the Greencastle County Fair!

 

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One area of contention, naturally, was politics. For example, I quickly got someone who wanted to place the Republican elephant symbol in the piece, and we have a nice bit of video about that.  But despite direct hints to some of the younger, hipper looking visitors, no one ever did place the Democrats’ donkey symbol in the piece. I just looked up the electoral map:  Putnam County voted 73% for Trump, 5% for Gary Johnson and the remaining 22% went for Hillary in 2016.  Still that means there was one Democrat voter for every 3 Trump voters, but I guess they weren’t at the Fair, or weren’t stepping forward if they were.  Perhaps they were mostly in the college community - DePauw is in Greencastle, and I did hear more than one conversation about the great divide, even enmity between the college community and the other residents of Greencastle and the surrounding areas.  Plus it was the middle of summer.

 

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None of this is to suggest I didn’t have plenty of friendly interactions, even warm and emotional ones. All this transpired without any institutional door-opening relationships to ride along on -- just me and my ideas in the presence of the Public.  But there were plenty of people who were closed-off, arms crossed, unable or unwilling to engage, and while many might simply have been bored or pre-occupied with other interests, I couldn’t help feeling that some of it involved suspicion of an outsider, a “New Yorker”, a person who might be in the process of setting up a trap for local folks to fall into.  I was asking for a bit of their heart, and they knew it, and not everyone was going to let me have that. Folks from the area felt burned before and were twice shy as a result, and I can’t blame them. Having roots in the area did at least seem to assuage some of the inevitable disbelief for how someone like me would ever end up someplace like that.

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It will take me lots of time to digest what I’ve experienced these past few days, and I don’t know that I will ever get anything definitive to say about it beyond its powerful effect on me. I do wish more “coastal elites”, more people like me, were spending more time in places like Greencastle.  I’ll stop analyzing here now and let the ruminative stages begin. I will say seeing those kids with their animals was really inspiring:  I remember feeling that if someone has had this much responsibility this early, it will likely always be hard for them to have a lot of sympathy for people later in life who come into difficulties as a result of their not taking responsible preparations.  I’m guessing you grow up fast in a farming environment - all hands are needed, risks are being taken and must be managed, animals must be cared for, crops planted and tended and harvested on tight schedules, with financial ruin a real possibility each year for those who screw up.  Parents, when I complimented them on their kids’ achievements with their animals, assured me that the kids also played video games and got up to nonsense, but one couldn’t help feeling it was blended in with plenty of tasks no suburban or urban kid ever had to tackle.

Blog Post #5 - Wrapping Up The First Piece

June 22, 2018

So people did show up, in droves!  The final participant count was 200 people, including about 60 children and people from all walks of life and across many different communities within the city (black, white, Korea, et al.)  It was actually overwhelming at times – they came with beloved items from home, they came to sniff around and see what was going on, they came with their teachers and many three-generation groups – teenage kids, parents and grandparents.  A Korean friend of the art center and gallery had come by on setup day, then sent out an alert to 130 Korean families in the area (KIA Motors has a big auto plant near here) and dozens of members from the Korean community showed up to lend their support.

A policeman came in with a badge from the department, wanting to have us include it, and a young girl brought in a grandfather’s World War II brass insignia that had been pinned on the grandfather’s Army hat.  People came in, curious, like we were from an episode of Antiques Roadshow, wondering whether something could be included, would it “print” into the clay, was there room or did we think it would be a fit?  Russ, the local notable, gave us his marijuana pipe to imprint in the clay, and his daughter brought in a logo representing his global corporation.

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We were busy, and went to work for a solid day adding pieces into the sculpture until 4:00 pm, at which time I was finally able to eat lunch! Then we picked up the ball again to pour the plaster and the foam, ending a very long and full day.

Reflecting on it tonight, I still worry: would the new gantry (a kind of mobile I-beam placed overhead) and chain hoist rig work when we have to raise and flip the piece? At my home studio I’ve always flipped the heavy clay and plaster ‘sandwich’, which weighs about 500 pounds, using chain hoists and steel beams mounted in the roof.  Here, I have no choice: I have to do it all with this mobile portable gantry, and it’s been stressful wondering if it would work. In the end, with 8 or 10 people watching and 6 people helping, we did make the flip to the delight of the crowd. The table started to tip, the gantry scudded a few inches forward, and everyone gasped and clapped as it settled down.



So it all worked, not elegantly, but all fine. We started cleaning, with a rotating crew of 15 people or so all having a chance to peel clay away, with essentially no missteps. It was all starting to be a blur – washing, picking, scraping, scratching, washing again, and more clay picking. It felt like a quilting bee with people talking and sharing and picking – all hunched over the piece from several angles, really drawn into a touching scene of genuine community. Participants were truly a part of something magnetic and worthwhile.  Lots of laughing, teens and young adults along with the elderly. A retired woman, a lifelong textile designer who had just moved back to town regaled us with her wit. “If I’d ‘a known how much fun this was going to be I’d ‘a started doin’ it years ago!”

I set the piece in its little tent to dry, with fans and bricks and boards and tarps and heater all working in unison.

Following the main event, I joined in with another dinner along with members of the Museum Board and friends – it’s been essentially one very long 72-hour- day. What comes next?

It’s clear to me that the hard part is ahead, even though this wonderful LaGrange experience has given me a great foundation.  Will we be able to put this piece and the community experience into context with similar projects from other places? Will we ever find other similarly inspired communities to work with?  As we do more of these will the results start to feel banal/skew toward a predictable middle ground? What if a (perceived) worn-down, beaten-up community (based on factors such as poverty-level incomes or undocumented-immigrant-percentage) produces a work that reflects only on the hardships of the community, as opposed to a vibrant look at who they are: encompassing all aspects of life in this Georgia community?

All ahead, all unknown.  What is clear is that after three exhilirating days (and a few more days tweaking with plaster and tints in upstate Georgia at another residency there)  is a tiny down payment, a preamble, an ante, for the real job ahead. The real work is getting several of these events in a wide range of communities to start building the outlines of a new story, generating fresh insights into places we think we know but never visit, uncovering a way of helping everyone involved find something new and valuable, perhaps something about what it means to truly be an American.

Blog Post #4- Show Time!

     

June 21,2018

This is the day I’ve been planning for- when people are going to show up, when the Thing is going to be created.  Yesterday we set everything up: the mold, the clay... Museum assistants helped me prepare, the gantry got put up, and people dropped in for a visit, stopping to chat and bringing objects for imprinting into the Shared Spaces piece. Everything ran according to plan.

Collage of images during the day of imprinting works into the clay, LaGrange, GA

Collage of images during the day of imprinting works into the clay, LaGrange, GA

My main concern is: when all of these things get done, will we end up with something interesting and meaningful, or just a kind of community “craft” project?   What drove this whole project for me could be summarized: what if?

What if I could get a piece made simultaneously by people in New York and people in Georgia?

What if, in spite of each community having their own (quite different) objects selected to be in there, it was possible that instead of these objects ‘competing’ I could find a way to coordinate creation of the work so that these objects could live alongside one other as some sort of whole?

The idea would be to see the final piece with all its variety at the granular level while simultaneously seeing it all come together in a unified, balanced and comprehensive whole from afar. I’ve imagined it might give us some sort of glimpse of a new perspective, where we could reflect on our country with all its conflicts and differences, yet still see it as one cohesive, beautiful whole.


So, as always in these projects, practical matters muddled my original intent. It simply isn’t possible to move the piece anywhere while it is halfway made: my original idea of having Georgia participants to create half of the piece before bringing it home to New York to complete just won’t be possible. This is what I had imagined, but it seems this just won’t be the case -  unless I had convinced a busload of New Yorkers to come with me to LaGrange! From this evolution, eventually the current model of a multi-city tour idea took root: seeking a diversity within each community, and diverse communities around the country, and hoping something similar or at least interesting would happen for each piece. Then hopefully all of these voices can be arranged into one overall exhibit, with the video of their making, on the national level.

What concerns me now has to do with depth.  Will I get the depth of meaning I’ve been hoping for?  Will the things people bring just be personal knick-knacks or things of personal meaning that don’t build up any deeper resonance in others? Also, will people be able to talk about their choices and objects, and do so on camera?  Finally, will a diverse audience show up to participate?

So far I’ve met a number of people here, and by and large it has all been surprising- not what I had expected – different and better.  Starting with my host Wes, who looks on the outside like a northerner’s concept of any random Southern good ‘ol boy, who then turns out to have committed his and his wife’s life savings to building up a high caliber collection of African-American artists’ works on paper, along with other substantive, museum-quality American works.  Then there is his buddy, I’ll call him Russ – we met over bourbon at Boys Night Out up at Wes’s country house a half-hour out of town. Russ started a global company producing custom floor mats, with thousands of employees in plants around the world. He’s retired now, his son runs the business, but stays active in the community. His politics could be described as old-time-Republicanism, and he’s happy to speak like any CEO firmly and confidently about his views on illegal immigration (“lock ‘em up!”) and so forth.  Except that Russ has been one of the earliest, leading figures in the legalize marijuana movement – confronting Newt Gingrich on numerous occasions, donating generously to the cause and sharing a blunt with us at night. “I told him, Dammit Newt! I am Sick and TIRED of being a criminal in my own Country! Now you get in there and talk to Reagan and get this stuff legalized!”

I’ve also met women from the local homeless shelter, teens, a vibrant and large community of Koreans (there is a big KIA plant outside of town) and people from the local colleges. “Who is LaGrange?  Who isn’t?”  is my whole notion of whatever cultural flavor I might find on the “Georgia/Alabama border” just another wrong-headed idea?  It’s certainly different here than New York – for one thing people really like to take their time and sit and talk with each other!- but beyond that isn’t it likely to just be a community full of individuals, like anywhere else, and not something that can stand in for some New Yorker’s view of ‘a datapoint for opinions in rural America’?  Still I feel it is important to be here, to see something that is not New York, and see what I can learn even if it turns out to be completely different from whatever I was expecting.

Tree outside residency Butterfly House, LaGrange GA

Tree outside residency Butterfly House, LaGrange GA




Oh, and the stillness in these woods up at Wes’s country house is exquisite!

Contemporary Relief Wall Art

Creating a new body of work that connects me to long traditions in sculpture- wall relief art-  that are for some reason not widely pursued by sculptors today.  It has been fun figuring out a new way of working that has immediacy, cultural resonance, flexibility and feels alive.  Process is a blend of 3-d printing, direct carving, mold-making,  life-casting, and press-molding.  Learning to think inside-out-and-backwards and relishing the surprises.  This next sentence is for the bot-like non-humans because this is the place they love to come and read and feed, and they must be fed!   contemporary sculpture relief art, wall-mounted.  contemporary art and sculptural innovation.

contemporary relief wall art, Cultural Landscape Series #45, bob clyatt sculpture 201742cm x 260cm x 10cm deep.

contemporary relief wall art, Cultural Landscape Series #45, bob clyatt sculpture 201742cm x 260cm x 10cm deep.

Contemporary Relief Sculpture and Heads Sculpture

In an attempt to ensure people can find my work according to the kinds of things they like to search for, this page is my way of dealing with that.  Humans will probably find things more interesting on other parts of the site.  Thanks for visiting :-)

 

Below is an example of my contemporary relief art, a traditional-referencing bas-relief or alto high relief sculpted art form.  Art using Brands and Logos, as well as figurative relief art sculpture.  This art also uses emojis in contemporary art.

Contemporary Relief Sculpture Art, wall-mounted relief art, Cultural Landscape series, Bee Art

Contemporary Relief Sculpture Art, wall-mounted relief art, Cultural Landscape series, Bee Art

I also have large head sculptures for public art installations, as well as smaller wall-mounted sculptures of face art and head sculptures for collectors.  These head sculpted contemporary art is the latest evolution from my wall-mounted head sculptures.

(E)scape New faces public art Head sculptures installed outdoors at Marcus Garvey Park, Harlem NYC.  Photo Courtesy Hyperallergic.  They engage the community in a dialog with art, an aspect of art social practice outreach art in a community of color.  This is inspired by the work of such artists as Theaster Gates and Nick Cave.

(E)scape New faces public art Head sculptures installed outdoors at Marcus Garvey Park, Harlem NYC.  Photo Courtesy Hyperallergic.  They engage the community in a dialog with art, an aspect of art social practice outreach art in a community of color.  This is inspired by the work of such artists as Theaster Gates and Nick Cave.