The drawings have been getting darker over the past year. In my new artist book The Horsemen of the 21st Century I remember an event from one night of camping in the Sierras.
We are tented on frosted ground near the edge of a night forest.
A pounding of hooves rushes close by.
Deer? we ask. Let’s hope it is not those four horsemen late for a logistics meeting.
Somehow I just can’t get past the feeling that those guys from the Bible and from the Fellowship of the Ring are more active than usual lately.
edition of 15
Ultra chrome pigments printed on Canson Infinity Rag Photographique, backed with Rives BFK and joined with Tyvek
Accordion fold construction with nylon tent material for a cover
The drawings are started in photoshop by drawing figure studies into transparent layers from which some lines are selected and combined in new ways with some of my photographs until a new image emerges. They are printed archival on an inkjet printer, then bound into a book form.
Nine months of work and anxious procrastination later, and I have finally finished my artist book “Meditations on a Credit Card”. I call this the completion of a Journey of Sorts.
I received a Visa card. This card is dark grey with red edges such that when one looks into the wallet, this card shows up first. Genius marketing, I thought.
I also had stacks of old prints which I had cut up for book markers — which nobody wanted. I imagined them with bloody edges. This book started coming together. Now…I’m only reluctantly an observer of marketing ploys, but I thought about this card, about revolving credit and about the pain it can bring.
This artist book not a tome on our economy. It is a collection of short musings on capitalism, consumerism, and financial plastic.
A picnic table in the rain
One seat is still available.
What does it profit man to gain the whole world and lose his planet?
Once, when speaking about the corrupting effect of the profit motive on the production of art, Ursula Le Guin said “We live in Capitalism. Its power seems inescapable. So did the Divine Right of Kings.”
The root of the word materialism is from the Latin “mater” which means mother.
There is a wonder-filled show at the Port Angeles Fine Arts Center, coinciding with this year’s celebration of Shakespeare in the Woods. Curated by Richard Stevens, the exhibit displays costume reproductions in the styles of the times in which Shakespeare lived and worked. A click on any image will fetch a larger image, easy return to page.
Above is a Spanish Renaissance gown for Tamora, Queen of the Goths, in Titus and Andronicus. Created by Tammie Dupuis. Heavy fabric in many layers to help keep the body warm in a cold climate. Opulent and jewel encrusted to indicate the status of the wearer. Oola was smitten by this one.
Below are two costumes, roughly the same period, Italian. Warmer climate, looser drape and lighter fabrics to let air flow around the body. Created by Margo Loes, the gown is for Lady Capulet in Romeo and Juliet.
Two doublets for courtiers in Comedy of Errors and Love’s Labor Lost, and King Leone’s winter coat in A Winter’s Tale.
dublet by Lori Edwards
dublet by Lori Edwards
Coat by Richard Stevens
Succeeding generations have produced Shakespeare plays in the costumes of their day. This costume is for a Stuart-era Orsinio in Twelfth Night, created by Carmen Beaudry.
Richard Stevens, gave a talk to visitors at the opening of this show. Among the many cogent observations he made was this: that women could not perform on stage in Shakespeare’s time so women’s parts were played by men. And male actors would not stand for simpering women’s lines, so the Bard had to make strong women’s roles.
Here is a fanciful costume for Portia, the Merchant of Venice, who brilliantly makes the law work in her favor. The fanciful costume is opulent and heavy with masterful detail. (The costume’s creator is not cited in the show.)
Of course there are magical characters in Shakespeare’s. Richards is facing one of the Wierd Sisters above. Below is Prospero, from The Tempest, costume by Richard Stevens
Oola, as I said, had aspirations for being the Queen of the Goths, but that being unattainable, she was perfectly happy to play the Titania, the Queen of the Fairies, from A Midsummer Night’s Dream, costume by Margo Loes. (Apologies, Margo)
Port Angeles Fine Arts Center is sponsoring outdoor performances of Much Ado About Nothing for the next 3 weekends. At the Opening Reception for this Exhibition of costumes we were treated to a couple of preview scenes. Costumes are mid-20thCentury reinterpretations.
Producer: Jessica Elliott
Director: Anna Anderson
Friday, Saturday and Sunday of July 21 through August 6. Pre-show at 6PM, Performance follows 6:30PM. Bring ground blanket or low chairs for seating. You will be entranced.
Cost: FREE, though donations will be appreciated.
The Port Angeles Fine Arts Center is located at:
1203 E. Lauridsen Blvd.
Port Angeles, WA 98362 email@example.com 360-457-3532
Our trip to Portland OR on Amtrak was cancelled due to mud slides. So I cannot tell you about the opening, and show you works in the “Build” show. Bummer.
But Busy Hands here has another small book to show you.
Since moving to the Northern Olympic Peninsula I have been captivated by its natural beauty. I find myself fascinated by river rocks, and I see that many of my neighbors have collections of their favorites too. River rocks are reminders to me of the beauty in small common objects. I find visual and verbal poetry there.
My book “Build” which I featured on this blog several weeks ago was accepted into a show called “Built” at 23 Sandy Gallery in Portland OR. which opens next week. It is a book about things to build in the time of tyrants.
If you are in the area, drop in and have a look. It promises to be a great show. You can check out the online portfolio here, and you can tell Oola if I am wrong. We’re taking the train down and would be happy to see you at the opening.