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).

Transformation~In the Caesura

(No longer in inventory)

Butted together on the easel at the Waterfront Artists' Studios in Bellingham. Next Art Walk is March 1, 2013.

Transformation~In the Caesura: Initialis, Medialis, Terminalis

(Series is no longer in inventory)

The dark surround is finally finished. I fought it, but in the end knew it had to be done. Thanks to those who kept nudging me in that direction. The paintings are stronger for it as am I. These paintings are mostly about the breaking apart of the old ideas, false ego, the things that distract us. The transformation happens in the pause--the Caesura. Thank you to Doug, who in his research discovered that there were three kinds of Caesura. The piece in the middle, thanks to Peggy's suggestion--and now that the backgrounds are completed, it actually fits there, is the Terminalis. This wholeness is what can come from allowing the process of splitting apart, and then the transformation to occur. Since in my personal, spiritual, growth, I'm still in the falling apart Caesuras, I don't completely understand the wholeness. Visualizing it is the first stage in the process for me. I wonder why I fight the completion so...

These paintings are each 18"x24" on wood panels with 1 1/2" cradle. I've used my mixed media texture and acrylics with metallic and interference paints.

'In the Caesura' Together

'In the Caesura' Top of Three

'In the Caesura' Middle of Three