Finished Sculpture for Biomorph

This is my third post of finished work from my show at Esvelt Gallery. The show, Biomorph, features work by just two artists, meaning I have more work in this show than in group shows and juried shows I have done recently. I was able to have control over what I showed and how much I showed. I have already posted about the two installations, today's post focuses on my free-standing sculpture in the exhibition.

last minute epoxy (blue tape holding the pieces on as the epoxy sets)

The main reason I have so much new work in the show is that I haven't taught classes at YVCC for six months. The work in this show is representative of the work I created during my sabbatical. I have some pieces in the show that pre-date the sabbatical and I have a handful of pieces in my studio that didn't quite get finished before the installation deadline for Biomorph.

three pieces finished

My sabbatical work focused on incorporating bike parts and other mechanical parts into my sculpture. I explored both the logistics of the integration of these non-ceramic materials and the conceptual and inspirational influence of the bike parts on the form of the sculptures. I began my sabbatical work in the summer and I focused intensely on it during the fall quarter. I hope to finish up some of the sculptures during the next six months, though my teaching schedule is heavier than usual this quarter.

five pieces finished

During my sabbatical I also wrote about my process on this blog (and was recognized for my efforts). I have drafted an article that I plan to revise and submit for publication. The Biomorph show and an upcoming two-person show at Oak Hollow Gallery in Yakima (as well as this blog) will be the main venues (so far) for viewing the sculpture created for the sabbatical.

asymmetrical sculpture

As of the installation of this exhibition, I have seven free-standing mechanical parts sculptures. In the studio I have one more piece that is close to complete and another that hasn't been glazed yet, as well as a few odds and ends.

squid backside

Besides these larger works, several of the wall installation pieces with mechanical parts can be shown as individual pieces. In all, counting bike part pieces, ceramic only pieces, not-quite finished pieces, and all the wall installation pieces, I built about 125 pieces this summer (that hundred-piece wall installation ups my count pretty quickly).

small bike part pieces for the wall installation

The multi-part bike pieces are the ones that were really the focus of my sabbatical research. Because I incorporated large bike parts, including wheel forks, the pieces are relatively large compared to my recent work.

Nepentha Prosthesia

Since I finished some of the pieces in the first two days of 2014, installation day was the first time I had gotten a good look at some of the pieces. I didn't have time for professional level images after the installations were complete (a girl's gotta have time to eat) but I was able to get photos of everything new.

Cephalotus Prosthesia

The bike fork pieces ended up very tall compared to their component parts. It's a bit odd to work with these relatively small pieces all quarter only to put them together in a week and discover a whole new identity for the elements as one sculpture. In the gallery they no longer look like the giants they appeared to be in my crowded studio.

Petal / Petal

During installation the gallery director and assistants indicated they liked the pieces. Mary Dryburg, the gallery director, mentioned she didn't know what to expect way back when I first proposed the idea for these mixed media works. For me, I'm a little too close to the building of these pieces to view them objectively. I still see them as pieces that required a particular glaze or sections that were hard to put together. When the show concludes in a month, maybe I will be able to see them as whole sculptures and a body of work.

Scylla Bionica

I am planning to go down and see the show for the reception on January 14 (at 1pm, join me). Perhaps in that context I can see them with some perspective. Or perhaps I will just stand next to the wall installation worrying that someone might bump something.

Charybdis Bionica

The pieces I am most happy with now are the ones that most closely resembled the original sketches. This is a bit of a surprise to me because these pieces were the easiest to plan and make and because the look of my work often drifts away from original sketches during the building process.

Cerberus

The asymmetrical piece I have worried over in previous posts is an interesting case of something that closely resembles the original sketch but required a significant amount of problem solving during the building process. In the end, this piece sits strangely on the pedestal. The tail section of chains needs to hang off the edge for a completely solid footing. The pedestals at Esvelt Gallery were set up beautifully for this piece and allow it to look like it is stretching or moving away from its original location.

I didn't get the best lighting for this shot, but I like the silhouette of the piece and the bulb installation in the back.

I would love to hear what you think about the pieces I have shown here. If you are in the Pasco, WA area, stop by and see the works in person. Esvelt Gallery hours are M-Th 8am - 8:30 pm and Friday 8am - noon. The gallery is free and open to the public. The gallery is well marked and is housed in the art and drama building on the Columbia Basin College campus. 

a line of sculptures in the gallery

Thanks for reading!

Kekino Wall Installation

The most difficult part of installing my work for Biomorph (up now at Esvelt Gallery on the Columbia Basin College campus) was the irregular wall installation, "Kekino Bionica". The grouping consists of ~35 previously shown pieces and ~13 new pieces made this year. To save time, I laid out the installation on paper on the kitchen floor the day before going to the gallery to install.

paper plan taped up as I begin to drill holes for screws

I taped up the papers on either side of this small wall next to the building entrance and drilled holes and put in screws and nails through the paper. At home I had marked and color coded all the screw sizes, so I knew which pieces needed smaller or larger screws. Unfortunately, I am evidently not very good at counting. Though I kept a tally of the screws I needed, then bought 5-10 more of each size, I still ran out of at least two sizes. Something to work on, I guess. I also ended up with more bulbs than I needed for the Ericano installation and two oranges for a snack when I though I only packed one.

screws and nails (but no other marks) after I tore down the paper plan

After the screws were all in, I peeled the paper off the wall, over the screws and nails and laid the papers on the floor because they were marked with sketches of each piece while the wall was blank. I then started to place work. I didn't take pictures during the installation because I was concentrating. I am afraid of heights, so all during the hanging of the high works and even drilling the holes, I am in panic mode. I step up the ladder, place a piece and then step down to relax, breathe and wipe my sweaty hands on my pants. I suspect the process would go more quickly and more smoothly if I could eliminate the panic phase. To add to the panic phase this time around, I knocked a piece off the wall while working on the other side. I have dropped pieces before but I can't remember a piece dropping after it was already hung--at least not since graduate school.

the installation near the door and viewed from the end of the wall

This particular installation wraps around this short wall and into the gallery. I wanted to take advantage of the irregular shape of the gallery walls and the exposed top, which can be seen from the stairs and from the third floor overlook. I had built a couple pieces this summer specifically to bend over the top, but I think I would make the angles more dramatic if I were to do it again. I might also make pieces to bend around the end of the wall.

top view of the installation wall

Because of my aforementioned fear of heights, I asked one of the gallery assistants to drill the holes for the pieces on top of the wall. He is taller, so perhaps her doesn't have to go as high on it as I do. Or other people don't have such a fear of ladders. I placed the two works on the top (held in place with screws), and this was by far the scariest part of the installation for me. Based on the pictures, no one dusted the top of the wall, but I didn't get high enough to see the top in person and, anyway, I wasn't going to volunteer to dust it myself.

interior of gallery view of my installation and Laura's painting

In this show, I am sharing the gallery with Laura Ahola-Young. Laura's paintings are abstract and represent biological forms, similar to my work, though her color choices and medium are obviously different than mine. We tried to arrange the show so that our works relate to one another in the space. I didn't take many pictures of her work, so you'll just have to get down to Pasco to see the show.

first floor gallery view (the brown tables will be moved

The gallery space is unusual. It is both a gallery and the lobby and stairway area for the art building. The gallery features irregular spaces, large windows and overlooks from the second and third floor into the main gallery space on the first floor. Several classrooms open onto the gallery on the first and third floors and the gallery lighting is visible between floors.

Ericano Bulb Installation

Biomorph has now been installed at Esvelt Gallery in Pasco. You can see the show M-Th 8am - 8:30pm or Friday 8-noon. Or you can join me for a reception at 1pm on January 14. The show is up through Febraury 6. Laura Ahola-Young has some fun and interesting paintings in the show and if you like my work, you might like hers, too.

"Ericano" bulb installation view

At the show I have two wall installation pieces and a dozen or so free standing sculptures (pictures to follow eventually). The Ericano bulb installation was much easier to install. I made a paper grid and had someone else drill all the holes and put in all 100 L-hooks (by hand, thanks Randy). 

setting up for the installation, first page of grid leveled and taped to the wall

After the hooks were up and the bulbs placed, the gallery director came in and expressed surprise that "it worked." Since this is roughly the same response I've gotten since the first bulb installation in 2002, I wasn't exactly surprised, but it is an interesting reaction.

entire grid taped to the wall, ready for drilling

The paper grid saved a lot of time--even if you account for someone else working on one installation while I set up the second. The total time might actually be more because doing the grid at home was annoying in a small space, but it was quite nice to be out of the gallery in time for a late lunch instead of a late dinner.

bulbs with "safety wire", airplane parts, and flossers

A few of the bulbs for the installation only came together fully in 2014, after we got back from our travels. I was epoxying right up to the point when I loaded the car. Luckily, only a handful of pieces in the installation have non-ceramic additions; most are entirely clay. 

notice the pink scraps on the floor? shavings from flossers that were too thick to fit into the (other) fired bulb

Most of the non-ceramic additions were simply epoxied in place, but my husband "safety wired" the ceramic bolts on one of them (the red bulb with yellow and green bolts). He is an airplane mechanic and apparently they use this general technique to keep hydraulics from moving. He wired up all the bolts with one piece of wire. Pretty handy.

wall installation from the side (I'll have to take new pictures soon)

Interestingly enough almost all of the additions seem to blend into similarity when they are hung together. When looking at the whole set of 100 bulbs, they all seem basically the same size and color is more noticeable than material. Except for the pink and blue floss one on the top row which is noticeably larger and a bright color.

 

hanging bulbs with non-ceramic additions

Even the ones with bolts, airplane parts and white sticks coming out of them are difficult to see from a distance. The people helping to install the show talked about their favorites and what each one looked like, but this was because they were in the same space as the installation. This one is really better to see in person. 

the painting to the right of the installation has a grid of very similar shapes across the whole surface

Another Piece in Progress

The last set of work I completed closely followed some sketches I had made. This doesn't always happen; I sketch a lot, but often the work changes considerably from the sketch while I am building. Sometimes I sketch, then when I begin to build I sketch a revised version based on what I am building. Anyway, a few weeks ago I looked back at a small sketchbook page with four sketches and I decided to make three of them. Two of them I already wrote about.

sketch with two arms and one gear

This third piece changed relatively little in form, though the surface of the base was altered to incorporate more mechanical parts after firing. I threw the base and the three long arms on the wheel. I also threw the bulbs at the top of each arm.

thrown elements for "arms"

arms drying

While building, I decided to use bike chains as the “tail” element coming out of the back of the base. The single gear “neck” of the form is now a three-level gear set and, instead of two “arms” coming out of the gear area, I made three. 

base with gear "neck" mechanical decoration 

This was one of the hardest pieces to plan and execute in wet clay because the long “arms” couldn't hold themselves up when wet. I built five small pieces that insert into the spaces of the gear set so I could plan for the weight of the arms to be supported by the gear set after firing. (The gear set is held onto the base with a clay insert the fits in the middle.)

gear set with clay pieces for positioning and weight distribution

I took the gear set and the small pieces off of the base and set it flat on a board where I could plan the position of the arms. I used foam pieces and other supports to hold the arms in place while I aligned them and then attached them to the small pieces inside the gear.

view of "arms" from below with placement pieces 

I removed the arms and little inserts from the gear and reinforced their attachments. When the arms had stiffened a bit, I balanced them upright in the gear again to be sure they fit. Since the pieces weren't completely dry, I could make some minor adjustments in angles and fit. Of course I also have to account for shrinkage during firing. The inserts will be smaller, meaning they will fit inside the gear more easily, but the space between two inserts on one base will also be smaller, so I need to leave extra space between them. 

checking fit and angle

While the pieces were wet, and even after they dried, I couldn't confidently balance them on top of the base at the angle they will eventually be attached--I would have to hold the pieces in place and I could cause damage if any pieces slipped or fell. I won't be able to put the whole group together until after firing, and even then I will need some support while they epoxy sets. 

the eventual angle of the arm

After bisque firing the work, I should be able to test the fit of the arms, but I won't epoxy them in place until after they have been glazed. I won’t be absolutely certain all the parts will stand up correctly until December. 

base and other pieces drying

Fitting a new batch of fired work

I fired some more pieces this weekend, including the first base for a pitcher plant piece. The bike fork fits well into and onto the base. The short leg of the fork is damaged (thus it is short) and I may alter the base because of the metal is bent, but the changes aren't absolutely necessary.

bike fork in place (temporarily) on base

Unfortunately, the other area of the base, where I planned to anchor a bike part, appears to have warped or may have been measured incorrectly. I tested the fired fit with a different gear stack than the one I used originally, but I believe the interiors of this type of gear stack are all the same. The original gear stack is hiding in my messy studio somewhere.

gear held in place on wet clay

I can't tell from the wet clay pictures if I am holding the gear in place because it doesn't fit or because it is too heavy for the wet clay. The wet clay should shrink during drying and firing, allowing for about 10% reduction in the size of the piece after firing. A piece that almost fits wet should shrink to fit after firing, though I can't tell if that happened here.

different gear held in place on fired clay (because it won't fit)

The clay attachment is no longer perfectly round, an error I seem to be encountering with some regularity. The piece may have warped during drying or firing--or, again, I might have not accounted for shrinkage very well. Regardless, I should plan for less shrinkage on small elements like this in the future.

the broken bike fork pictured here illustrates my intent, even if I don't plan to use this particular part

I can proceed with the result of this particular error in several ways. If I absolutely want to maintain the original design, I could grind down the exterior of the clay attachment or the interior of the bike part to make up for the small size discrepancy. Or, I could put something inside the attachment which also goes inside the gear. This places the gear farther from the base itself, but still attached in a similar way to the original plan.

broken bike fork holding up the gear that wouldn't fit on its own

Another option is to revise the design, replacing the intended gear with a different, wider gear and a clay end cap. Or I could replace the gears with some other element all together. 

large end cap holding on larger gear

I could attach an old faucet handle

Of course, I don't have to make all these decisions quite yet. My plan is to build the bulk of the work early in my sabbatical, then glaze everything at once, and then put everything together after glazing. If I attach all the bike parts after all the clay parts have been made, I can trade some of the pieces between one sculpture and another. Though this approach is foreign to a pottery, it seems the most reasonable approach for this group of works. I expect to collect some more bike parts before the project is complete. I expect that I will get more of what I already have (more gears, more chains, more of certain small parts), which means I will be able to choose between similar parts later on and may find a slightly larger gear set or a slightly different fit.
 

one of the second batches of pitcher plants, testing fit on the bike fork