Work in clay, then and now.
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Current posts and commentary from Abovoagogo.
This is the winter we wish for, to be in the night meadow, the trees, heavy with fresh snow in th
In the summer, after only several months of pandemic, I began. Rather than my plan, which wa
The painting starts as the crosshairs of a target as seen by the bombadere. It is David Arsenault's design for "Grounded" at The Kitchen Theatre in April of 2019. The play is very serious. the painting however was playful, litterally wacked up with paint on sticks.
The piece is characterized by shifts in perspective and scale, creating an atmosphere of sureal fantasy.
This exhibition features artwork relevant to truths and uncertainties faced in this era of global climate change. As artists we pay attention, synthesize and reimagine. In this way we can see what is possible and save the world.
65 pieces, clay individuals embody a tiny mime, an emotive narrative spark that is human and recognizable.
Clay is malleable, able to follow our impulse, record an action or show the force of gravity. We create structure, clay changing from liquid to solid and transforming over time and by fire. Studio practice is the dance, the give and take between aesthetic intent, action materials and technique.
The last time I worked in clay I was in a studio that was an industrial workshop; Bethune Studio University of Buffalo, 1980 - 1983. You can see these influences in the clay-work from that time, this theme of the contradictory nature of materials is seen throughout this gallery of my sculpture work from that time.
Chalk pastel, vibrant colors, and soft edges let me turn up the volume on the landscape. The camera lets me troll around and really look at the marks close up.
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