October 13, 2018
Work in progress.
Work in progress.
Work in progress. Ex voto-personal device.
Running from May 26–August 18, 2018 at Griffin Art Projects in North Vancouver:
With works by: Tacita Dean, Tara Donovan, Stan Douglas, Amber Frid-Jimenez, Rodney Graham, Antonia Hirsch, Denzil Hurley, Philipp Lachenmann, Myfanwy MacLeod, Damian Moppett, Bettina Pousttchi, Kathy Slade, Beate Terfloth, Wolfgang Tillmans, Frank Stella and Andy Warhol
Installation view of the exhibiton “zero, ground” at Griffin Art Projects. Left: Philipp Lachenmann, right: Antonia Hirsch “mobilemobile I” (2016). Photography: Lee Plested.
Glass research: bird’s eye view of a silica mine near Golden, British Columbia.
Opening Tuesday, May 1, 2018:
For further information visit the exhibition’s website.
Opening Saturday, April 14, 2018:
For further information visit the Surrey Art Gallery website
January residency at Orbitas—workspace with a view.
Gold ruby glass: this glass comes completely clear, but contains gold that with the right temperature and duration turns red.
Here’s the “before” picture: kiln packed with test in the foreground.
Here the test later in the process… it’s not there yet, a cool red: keep holding at 700 degrees.
Proper gold ruby opening the kiln after the cool-down period:
“Beyond [gold ruby glass’] aesthetic qualities, there is an alchemical connotation: Since ancient Greek times, descriptions of the sorcerers’ stone agree that it was believed to be a red substance and the key to the transmutation of metals, principally the making of gold. Whoever discovered how to color glass red must have thought himself to be on the right track to attaining the ultimate goal of alchemy… Red glass of some sort was produced almost from the time that glassmaking began. Knowledge was gained and then lost, and while there were rediscoveries on several occasions, this glass does not seem to have been produced again until it was revived in Brandenburg in the late 1670s and 1680s. It is here, with the arrival of the alchemist, pharmacist, and glassmaker Johann Kunckel (1637?–1703) in early 1678, that the real story of gold ruby glass begins.”
Source: Corning Museum of Glass
The Surplus Library on Affect & Economic Exchange will be part of this fantastic Reading Room organized by Wendy’s Subway for the Brooklyn Academy of Music’s Next Wave Festival. The illustrious list of extraordinary (in the true sense of the word) libraries: Aeromoto (Mexico City); Aleph B° (Beirut); Ashkal Alwan (Beirut); AND (London); at land’s edge (Los Angeles); Beta-Local (Puerto Rico); Bureau of General Services—Queer Division (New York); CC Catálogo Contemporáneo (Mexico City and other locations); Chimurenga Library (Cape Town); dispersed holdings (New York); Feminist Library on Wheels (F.L.O.W.) at the Women’s Center for Creative Work (Los Angeles); Free Black Women’s Library (New York); Fundación Alumnos47 (Mexico City); Interference Archive (Brooklyn); Los Angeles Contemporary Archive (Los Angeles); P A L / Pilipinx American Library (Queens); Parmer (Brooklyn); Press Press (Baltimore); Provisions Library: A Project for Social Change (Fairfax and Washington D.C.); Reanimation Library (Queens); The Surplus Library on Affect and Economic Exchange (Multiple Locations); Temporary Services (Chicago); Vancouver Women’s Library (Vancouver); Ulises (Philadelphia); Yale Union (Portland)
Check out the details here.
Here we go again: another set of molds packed for kiln casting, awaiting their crucibles and glass.
More raw material: two cardiac pacemakers, the “Phoenix” a demo, the “Dialog II” the real (and used) thing.
Raw material: black glass billet.
Next set of molds ready for the kiln.
Click here for the article.
Shot from a display at the Museum of Cycladic Art in Athens.
Above: sketch I made a couple of years ago and never realized.
Below: 16×9 (2017)
Form filled to the brim with black glass.
Glass drip frozen in mid-air…
Glass billet’s “imprint” in the crucible…
Behold: no broken molds and glass seems to have melted fully 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. Then 40 more hours of cooling.
Inside of the kiln: forms at the bottom, buttressed with bricks and flower pots as crucibles with the black glass billets inside.
Not a DIY distillery, but my setup for steaming wax out of my molds.
Opening today, March 9, 2017:
For further info visit Under Super Vision an exhibition and symposium at the University of British Columbia.
For some, thing theory is still a thing…
From Bill Brown’s Things, pg. 5
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.
Small diptych (Solanum I & II) I’m donating to the Western Front’s 44th anniversary fundraiser.
Picking up on amateur meteorite photography and 19th century spirit photography.
Opening today, February 9, 2017:
This Now, More Than Ever
Simon Fraser University Gallery, Vancouver, CA
Image of Herbert Marcuse’s grave in Berlin (my contribution to the show);
“weitermachen” = “carry on,” “continue”
Image of a thing by Kevin McNamee-Tweed found on Supercargo.com
“Magie der Gegenwart”: Süddeutsche Zeitung on the iPhone as pure surface and contemporary magic.
Opening today, January 4, 2017:
Ball of Wax.
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).