Applied to Sculpture at the Kavanaugh (3/26 to 5/8/21) with VALIS Lamp with Wearable Neuralink, Juicy Sunrise, and Honeymoon Panopticon.
Above photo shows Outgrowth 2 in low light. It changes a lot with different lighting. It measures 6' x 6' x 6' centered on a floor corner of my poured-concrete basement. It is made entirely out of hyperbolically woven glass and reflective acrylic beads. And lots and lots of clear Gorilla tape. The piece can be dismantled and recreated elsewhere as a temporary installation or a permanent, outdoor piece with clear caulk.
I'm very happy with this. I was very happy with Outgrowth 1, but number 2 turned out better than expected. The big difference between the two was the mosaic wall placement. For Outgrowth 1, I used the irrational number "e" (2.7182818284590452353602874713...).
It is a number that shows up in population growth so I used it to place the mossy areas along the crack between to the three surfaces and onto the planes. It gave it a more natural growth pattern and, even better, I didn't have to fuss over where to place everything. I *did* fuss over where to place the wall tiles in Outgrowth I and it shows.
For Outgrowth 2, I decided to divide the two vertical walls into 10 equal sections with 5 straight lines emanating from the origin point in the corner. I attributed each of those lines a digit from 1 to 0. (I can't remember why I decided to put 0 at the end instead of the beginning.) ((If anyone has a reason it should be the other way around, please let me know!)) Then I placed a wall tile using the line as the axis of growth for that number.
I had blocked out two piles of colored tiles prior to installing. I wanted to keep same-color groups together so it would look like there were transitions to different colonies of lichen growing up the wall. Fun fact: the S curve in the final design did not appear in the original concept sketch. The S-curve fluctuates back and forth but remains centered on the growth axis.
It's hard to photograph this body of work because the light effects are luminosity- and angle-dependent. A still photo captures a tiny sliver of the experience. I'll be making more videos featuring each piece to give people a better idea of their visual dynamics and dimension.
The first video I did for this piece is fairly one-dimensional because it is a time lapse of the installation. I thought it would be fun to have little videos showing these pieces growing. The first one I made for Outgrowth 1 was terrible but got the point across. I'm learning. The video for Outgrowth 2 is a little better. (These are made with social media in mind.)
Here's a short video in which I am wearing the light source. For the next video I'll try a fixed light source behind the camera.
I finished Black Star Panopticon a few days ago. It is bead mosaic on a 26" x 26" security mirror. These are the security mirrors that show if a truck or person is coming around the corner of the loading dock or if a kid is putting a bag of Funyuns down their pants at 7-11. I installed strap hangers on the back because it will look great hanging flush on a wall. I still have the installation hardware it came with if someone has a loft and wants to install it in a corner.
Continuing with the formal aspects...since making Blue Star vase, I've been searching for another object with a mirrored surface because I still want to explore optical layering effects between the mirror, different qualities of glass beads and the reflective acrylic beads. I had considered doing a mosaic on a typical household decorative mirror, but wasn't excited about the idea because they are flat. Back in the day, doing art consulting and interiors I designed/ordered and installed a lot of decorative mirrors along with more typical art works. I was happy to find this mirror so I could add a dark industrial twist to domestic mirrors and enjoy working on a convex shape instead of settling on a flat mirror.
The tiles of the bead mosaic are little ~3/4" woven hexagons of only 12 beads. I got a nice net pattern out of them. It's obviously a hand-placed mosaic and not a precision CAD print, but the hexagons still give the piece an engineered fell about it.
Putting a security mirror in a strategic area of a home adds to the panoply of surveillance devices we have elected to live with. Someday, maybe I will find one of those interactive internet hubs people talk to in their homes and take a picture with BSP above it.
I want to make another one.
I installed the installation I started in March this week. I wanted to make a time lapse video of the process to show how the piece grew out from the center. Unfortunately, I was just taking pictures from my phone without a fixed tripod and it is a mess. Rookie mistake. But I had fun making the video.
It all started with some ideas I was playing with from earlier blog posts-- "Lou. Eliasson. Biomorphic Studies" and "Corners". I worked out a beading algorithm that would start curling up as it expanded. I knew I wanted to do an installation that grew from the corner of the floor and decided to grow it using the digits of "e" assigned to cracks and planes of the walls. I wanted to get something that felt like it was growing rather than having to artificially decide where every piece went.
It's really late. I am going to throw some shots from today below and turn in. I did not use the number e for the smaller wall pieces. However, I will design a pattern using e for "Outgrowth 2", which I will start on after I finish taking pictures of OG1.
Added Sept. 19, 2020:
'Outgrowth Figure 1' was a temporary wall mural installed in early August 2020 made from the components I was making for a larger installation, 'Outgrowth 1.' It was a good way to get familiar with the temporary adhesives and work out how I was going to build things in the Outgrowth Series. The series is designed for temporary site-specific installations in galleries and outdoor seasonal exhibits. The components of the series are made out of woven glass and reflective acrylic beads.
The shapes of the components grow using the same algorithm. The larger pieces with more beads take on obvious hyperbolic, organic shapes. En masse the components appear to be growing colonies of climbing lichen or lush moss.
Negative space embellished figures from the 'Outgrowth' series can be interactive. If the mural is created on a light-colored wall with a strong light source behind, visitors' shadows will be cast onto the wall and animate the negative-space figures. The light source also makes the luminous reflective beads shine as the shadows pass beyond them.
Drops of Jupiter was started in March and finished at the end of July 2020. I didn't have a plan for this when I started. C-19 quarantine had just started and I had finished Juicy Sunrise and had a lot of purple and pink beads and a weird purple vase on hand. At some point in the weaving I heard a sweet cover of "Drops of Jupiter" by Taylor Swift and designed off that. I don't have any art world influences for this one at all just the song and the stratified layers of Jupiter's atmosphere. Some scientists suggest (citation needed) that the composition and conditions in the atmospheres of Jupiter and Saturn may cause diamond precipitation. So that pink reflective-bead cloud suspended within the globe of the vase has a little crystal-drop chandelier.
Design note: This piece was made out of a purple vase, but unlike the other vases I've done this one isn't a vase anymore. You can't put flowers or whatever in it because I nestled a bead cloud in the hole to suspend the chandelier cloud from. I'm calling it an assemblage sculpture with woven elements.
(I feel guilty that I didn't provide a reference for where the diamond rain on Jupiter thing came from in the explanation above, so I found some videos that can give you an overview.)
Above shows a typical installation of Hilma Af Klint's very early abstract series. I believe this is the series done in 1906. Very early. She is being credited as an early pioneer of abstract art. I am happy to go along with that. I am lukewarm about the pieces above, but truly admire a lot of her work after seeing the documentary "Beyond the Visible: Hilma Af Klint".
This is more like it. This is "Gruppe III nr. 5" from 1907. This composition is very harmonious and tiiiiiight. This piece doesn't need the symbolism to be successful, but af Klint attributed maleness to yellow and femaleness to blue. I only mention it because this is before Kandinsky published "Concerning the Spiritual in Art" in 1911. I'm not saying that af Klint invented this idea. These ideas must have been wafting through the air of spiritualist salons like ectoplasm.
Added on 6/15/20-- A couple of days after writing this post I learned about "Thought Forms" a Theosophical text written by Leadbeater and Annie Besant two of the biggest names in Theosophy after Blavatsky. As an artist and Theosophy adherent, it is thought that Hilma af Klint was influenced by this publication. It is going to be reissued November of 2020, but I found a .pdf here:
I guess what I am getting at is that you do not need to write her off as a spiritualist medium. Much of the work stands on its own and is groundbreaking. Her work is diminished where she incorporates overt symbolism and mystical glyphs. I like a lot of visionary art, but, in my opinion, the best mystical art resembles a Rothko more than a tarot card.
Shown above: "Primordial Chaos" series, 1906-1907. Good, but diminished by mystical glyphs and writing.
From the documentary, it is clear that Hilma af Klint was very well educated, intellectual, and must have had access to science journals or periodicals. She painted about cutting-edge discoveries in physics and biology. It may have been a symbol borrowed from a Theosophy diagram but she has a double helix in one of her paintings. (Which if you want to entertain it, could be a little spooky because she died in 1941.)
Her questioning mind is what I like the best in her work. Over 100 years later, I am exploring and celebrating some of these same concepts in my own work.
Formally, she was a very precocious artist. Especially in her Swan Series. I think that series alone would qualify her as a significant artist of the 20th century. It has everything. She does all kinds of amazing abstract things in that series. She plays with duality. In some of the pieces I feel like the future Salvador Dali is in the next studio over. She approaches op art in many of her works too:
"Swan no. 13" AKA "staggering work of genius" (note: no glyphs)
I was watching the documentary and when the film started flipping through the Swan series I couldn't believe how contemporary it looked. This series looks like it was made today. The images below are in order of how they were numerically titled. I am assuming these are a chronological progression. The best part is you can find more of them on line. (including at least one where the swans are getting it on)
The documentary mentions that she made around 1500 paintings. I glimpsed what looked like a multi-volume boxed Hilma af Klint catalogue raisonne. I would like to spend an afternoon with that studying her works in series. Especially the Tree series, more of the Swan series and the Dove series.
I have been very busy in lockdown. I studied some new weaving techniques that are faster and use less beads but still grow into biomorphic hyperbolic forms. I did a little IG video on the studies a few weeks ago at @thereforeijam. It's developing into a body of work that will encompass outdoor and indoor installations inspired by the growth patterns of moss and lichen.
I am motivated to develop the outdoor site-specific installation/mosaic/mural pieces because it will open up new options and artistic growth. This means I have to tweak my materials--especially my adhesives--to be weather proof. I'm testing whether the acrylic reflective beads will fade or melt on a little test rock out in the front yard. I'd love to retain the reflective beads but if they can't survive harsh summer conditions, then I need to stick with all glass. I'd love to use the reflective beads as it calls attention to something that's often overlooked and they look really cool at night. Also switching from natural fiber thread to synthetic.
While the outdoor materials test is underway, I'm working on an installation in a bare corner of the basement. "Outgrowth #1" grows out of the corner where the floor and walls meet. I'm using the number e with extra digits weighted to the floor to help me get a natural distribution. The areas higher up the wall that don't have moss pieces will have beaded representations of lichen colonizing the wall. I don't know if I will use a formula to arrange the lichen shapes. When I say "moss" and "lichen" these are obviously scaled-up impressions of those life forms.
This body of work will be easy and cheap to transport and install. Clear silicon is a quick, semi-permanent adhesive for the exterior and some interior installs. It peeled off cleanly from my test rock after curing without a lot of effort. Gorilla tape/tabs for interior installs work great. The components are reusable.
Many artists I admire have done corner installations. Dan Flavin, Lynda Benglis, and Olafur Eliasson use them a lot. Out of the images below I identify most with the implied dimensions in Smithson's piece and the organic quality of Benglis'. I adore Dan Flavin's work although my work has emotional content whereas I understand that he insisted his work did not.
Lynda Benglis' use of acrylic foam instead of molten metal surprised me especially as the piece was addressing Carl Andre's work. That choice of material serves to further distinguish the one artist's vision from the other's.
In a month or so, I should be ready to do the installation and take photos. Very excited.
Above: Juicy Sunrise, 2020.
This piece is not about the coronavirus. This post is a half-hearted apology/ stammering explanation for having bad timing.
I got tired last fall of working on glass vases. I wanted to use the same technique I use for them, but on a larger scale with more luminosity. After submitting a Saturn-themed proposal for a mini golf hole in October, I hit on the idea of making the Saturn of the golf hole a disco ball and embellishing it. I got very excited and found someone selling their 20-inch, vintage, slightly damaged disco ball and bought it.
I had a mercury crackle glass vase on hand that I started making woven bead tiles for. This became Blue Sun. I loved the effects I was getting by layering glass and reflective bead woven tiles over mirror. It became Blue Star vase. That piece was a study for a luminous sun that I wanted to make.
Meanwhile, there was going to be a long wait on the golf proposal and I really wanted to embellish a disco ball. It was calling to me from it's enormous box. I had finished Solar Panels a month or two prior, and I wanted another piece that celebrated clean energy sources. It's taking a long time to develop efficient fusion power reactors, and I am impatient. I decided to fulfill a wish by bringing the power of the Sun to Earth. The piece would be optimistic, joyous, and celebratory. I decided to make it a sunrise.
Which is good because a high-noon yellow sun doesn't offer much for tonal variations so I opted for a color palette like a sun close to the horizon that is glowing like a red/pink piece of citrus fruit. I was designing this piece and sourcing & mixing bead colors in November and December. Sometime in December I started weaving the first tiles for Juicy Sunrise.
Concerning reports started coming in on Twitter and news sources about a new killer flu-like disease emerging in China.
Weave, weave, weave, weave, weave.
The days went on. The reports out of the orient got more concerning. Then it spread to other countries. Around the time I finished Juicy Sunrise the first renderings of the novel conronavirus were being circulated like a WANTED poster and it looked a lot like my sculpture. I am quick to defensively point out, though, that my sculpture does not have the characteristic coronavirus nobbies. So you must acquit.
Anyway, I'm using it as the featured image on my landing page. I'd say I will try to do better but this is a coincidence and tone deaf I stan for the utopian dream of nuclear fusion power.
a Top: Liza Lou, Wall Terra, 2018
Bottom: Studio Olafur Eliasson's Moss Wall from 1994.
I hope you are doing all right coping with the pandemic. I am excellent aside from anxiety regarding the danger to the health of loved ones. I have a new appreciation for Clorox wipes.
I have plenty to do.
I am developing a new major project but it's complicated and I have to teach myself how to weave the look and shape I want for the different components. I anticipate a lot of minor study pieces coming about in the next few weeks.
The Liza Lou works pictured in this post and Olafur Eliasson's lush moss wall are inspirations. Lou's weavings are hyperbolic and she's weaving with different sized beads. I'd love to try out the algorithm that she and her team used to get this texture and form. But I don't have it & can't script kiddie Liza Lou bead blobs. I have to build my own little beasties.
The 12" or so hyperbolic beadweaving that I've been growing here and there over the past two years is pictured above. That sphere is nothing but woven beads and thread. It's called "The Rose" and it's an homage to Jay DeFeo's chunky monolith by the same name at the Whitney Museum. (Here is a link an heirloom shot of Liza Lou posing with with DeFeo's Rose.)
The Eliasson work is completely organic and must feel and smell magnificent, especially when it is still a little fresh and green like the wall pictured above. Love him. He's a wizard.
So while keeping an eye on the health and welfare of my family, I'm tinkering around. So far, I have hit on a good algorithm for making a flatter form that reminds me of lichen. But I want this, which might be a stochastic, random-size-bead, round peyote hyperbolic weave:
Julie Mars' current events, projects, & inspirations.