July 10, 2017
Raw material: black glass billet.
Raw material: black glass billet.
Next set of molds ready for the kiln!
(click here for the article)
A shot I took at the Museum of Cycladic Art in Athens in April that I can’t get out of my mind: perennial perplexities of display.
I just realized… there is this sketch I made a couple of years ago and ended up putting aside. Compare with recently completed 16×9…
Getting to the core…
Form filled to the brim with black glass.
Glass drip frozen in mid-air…
The glass billets left a nice “imprint” in the crucible/funnel…
So you open the kiln and behold: none of the molds broke and the glass seems to have melted nicely into the forms.
2hrs at 850° C when everything is glowing red hot, then venting the kiln to rapidly cool it down to 480° C. 40 more hours of cooling after which I’ll find out whether all this led to any interesting results—or not.
Here is the inside of the kiln. The forms at the bottom, buttressed with bricks and flower pots as crucibles with the black glass inside. Next: bringing these babies up to 850° C!
OK, remember those plaster forms—with the wax iPhone still inside? What you’re seeing here is not a DIY distillery, it’s my not-so-fancy, but effective setup for steaming out the wax.
This is what is left of the nightshirt my mother had with her at the clinic in Paradiese (no joke, it’s a district of the German city of Soest) where she died in 2010. Even though it wasn’t totally my style, I continued to wear it for six more years and when it started to give out, I began to use the material as rags. Now that it’s almost gone, it occurs to me that I may be trying to make the thing “pay”—or work until its last gasp for the outrageous audacity of still being around, in all its frivolity, while the body it clothed has long disappeared from the material world. Of course it’s not particularly surprising that things last longer than bodies, but the sense of outrage at this circumstance is.
For some (like me), thing theory is still a thing…
It seems to be fundraising season: my contribution to Decad‘s ACLU fundraiser. Silent Auction this Sunday, February 26, in Berlin.
Four out of eight plaster forms for casting iPhone6-future-relics in black glass.
…for now with the wax still inside the mold.
This small diptych (Solanum I & II) is what I’m donating to the Western Front‘s 44th anniversary fundraiser. More potatoes (see 433 Eros and Cosmic Night Shade)! Picking up on amateur meteorite photography and 19th century spirit photography.
This Now, More Than Ever
Simon Fraser University Gallery, Vancouver, CA
“What is this moment, this now, this present that we are encountering?”
Amir Atouani / Awa Dembele-Yeno / Léa Incorvaia / Mico Mazza, Lorna Brown, Clint Burnham, Adrienne Callander / Neil Callander, Dana Claxton, Brady Cranfield / Jamie Hilder, Thom Donovan, Samir Gandesha, Rosemary Heather, Antonia Hirsch, Am Johal, John O’Brian / Marina Roy, Marianne Nicolson, Karine Ng / Jayce Salloum, Genevieve Robertson, Carol Sawyer, Michael Turner, Althea Thauberger, Kika Thorne, Peter von Tiesenhausen, Urban Subjects, Tania Willard, and Jerry Zaslove, among others.
February 9 to March 03, 2017
…and then there is this little gem. An image of a thing by Kevin McNamee-Tweed, that I found on Supercargo.com some time back.
“Magie der Gegenwart”: Süddeutsche Zeitung on the iPhone as pure surface and contemporary magic.
“…artists looking at ‘open’ space and how it has been defined, surveilled and controlled.”
Michel Auder, Fiona Bowie, Dries Depoorter, Janice Guy, Antonia Hirsch, Ron Jude, Garry Neill Kennedy, Evan Lee, Wanda Nanibush, Roxy Paine, Bettina Pousttchi
January 4 to March 10, 2017
fakes in the making
Spent a day at the Pitt Rivers Museum’s study room last Thursday, looking at lucky charms from the reserve collection, coincidentally furthering my knowledge on the secret life of the potato (this one from 1897; to be effective against rheumatism it had to be stolen and then carried in one’s pocket).