Amulets to the Guardian of Rust (size 22 1/2"x43 1/2")

(no longer in inventory)

This was quite the challenge to finish. Well, technically, it's not finished; I haven't figured out how to hang the structure, yet. To create the architectural look of the styrofoam, I first put drywall tape on the structure to strengthen it. It takes a bit more for it to be jabbed and the surface compromised. Then I covered it in spackle. That took a lot of time because there was a significant learning curve. And I wanted to get lost in creating texture--a temptation I resisted by promising myself a chance to play with creating texture in the archway pieces. After the spackle dried, I added a coat of gesso. Then I added various shades of orange. Then I sought to compliment the rust colors by adding shades of blue-green. I darkened that down with my perfect grey. The rusty bits were adhered with gel medium. I have re-inforced the edges of the structure by laminating cotton sheeting to the sides. Right now, that's just painted white. The back is still exposed styrofoam. That needs to be remedied, though. Do I use Power Grab to adhere a piece of Masonite or something to the back. Will Power Grab melt the styrofoam? My preference would be to construct a metal frame. I wonder how I do that? I think I'd need to have tools beyond my capabilities for that. Anyone know a welder? And then, at the Art Walk this past Friday, someone asked me how much it costs. I don't know. Any ideas about framing or creating a hanging structure? (A friend suggested brackets--that could work.) Any ideas about what price I put on this?

Stage One "Amulets for the Guardian of Rust"

In a way earlier post, I expressed the significance and gift of rusty bits that came my way. Finally, a good portion of them are being put to good use. The base for this is a styrofoam packing piece that came with the sit/stand workstations that several of my co-workers are using. I saved three of these for use in my art. Of course, the architectual aspects of the "niches" appealed to me--they're about 42 inches by 20 or so inches. Then I got out my big and heavy bin of rusty bits and started placing them. At the same time, I was referencing the book "Amulets: Sacred Charms of Power and Protection" by Sheila Paine that fellow artist Shelley Muzzy gave me (thank you, Shelley). What would be appropriate amulets for the Guardian of Rust? I had great fun determining what pieces went where in the niches--what the shapes might represent. And it went together surprisingly fast.

Stage Two is in process. That's the drywall taping and the spackling (how do you spell that?). Should only take a few hours, right? Wrong. Many a back stretching, neck crunching hours. There is a learning curve after all.

RustEcology Mythology: The Rules and The Guardian of Rust

Artist's Statement for RustEcology Mythology: The Rules and Guardian of Rust

Once upon a time humans could have altered the course of their technology rush, their building boom, their destruction in the name of construction and progress. The clarion call of scientists and ecologists could have been heeded. It was not. In this scenario, the ice melted, waters rose. Rust rode the waves to rule the land. Crumbled detritus became the impetus for what has so often happened in human history: a mythology emerged to explain events and existence. In Post-Apocalyptic times this is known as RustEcology Mythology. Its basic tenets are represented here in this diptych.

It started when I got the message to create something about the environment. All of these rusty bits were findings, by several different friends, on beaches, mountain paths, old barns, holes that must be dug, and the rusty, no-longer-operable kick-stand in Amsterdam (anchoring the lower left of the diptych). So much rust in our environment. And it is beautiful even as it is trash. The ceramic bits are a broken replica of a pre-Columbian mask also donated by a friend, the same one who brought me the "guardian" and all the rusty, long nails I shoved under the "tablet." It seemed fitting that these are together in a composition--the then and the now. I chose to hold it all together compositionally with the texturing material I use--a mix of lightweight spackle and gel medium. Painted with acrylics in blues and greens and violets, with some micaceous iron oxide mixed in, and a fabulous paint called quinacridone nickel/azo gold which had the rust tones to it, on the top of the texture.

I had the idea that this diptych represents a new mythology, a "RustEcology Mythology," that perhaps arose in some future generation that was looking for a way to justify all the rust in our environment. Rust takes on a life of its own--the proof is in those amazingly fascinating photographs of the Titanic, for instance.

This diptych is on two wood panels that measure 24 inches by 36 inches with an inch and a half profile from the wall. Together, they weigh under 20 lbs (guessing).