Amazing technology and rock art about it.
Also in Phippsburg, I took the time to carve some lasting inspirations including a Mars helicopter, a Zumwalt Destroyer war ship and some secret concentric circles.
The sunlight happened to fall between the trees perfectly when I took these photos and the color of the fall leaves accented the carvings mightily.
After the snow closed the road back to Egilsstaðir and my residency, I flew back from Reykjavik. It was a clear day, and the most beautiful flight ever. The view stretched from the Akureyri to Hofn, over the gate of hell, and past a tremendous dam.
From the airport I hiked across the fields into Egilsstaðir where I heard they had a lovely pool, and I was not disappointed. Iceland’s outdoor wintertime pools are the best. Egilsstaðir has a 25M lap pool, a 37-40 degree hot tub, a 39-42 hot tub, and a 37 degree shallow pool, and a 10 degree cold plunge in a wooden barrel. There was a sauna, but I did not explore it.
Natural mineral hot springs are a hobby of mine, but the civic pools of Iceland are a treasure, and they eclipse the wild pools of the New Mexico, California, and Colorado.
#Soaking #HotTubs #StodvarCreativeCenter
Today, I am excited to announce that a novel new website about artists and their work has launched, and I am honored to be included. About each artist, the site features an introductory Context piece, an interview in the Dialogue, a photo gallery of the artist’s studio, and a Rack of the artist’s work. The site is At The Gates of the West.
Initially Gates of the West features three artists, Chelsea Gibson, Gail Stoicheff, and myself (Context, Dialogue, Studio, and Rack).
Kevin Sudeith
Chelsea Gibson
Gail Stoicheff
The spatial relationship between the rock jets and the viewer of the works on paper constitutes the overarching form of each of my works of art as a whole.
These prints are indexed in a relational database which is potentially the most ephemeral, yet most central component of the aerospace perspective.
My vision for this carving is to document the space age for the long term.
Beyond the local impact for people with physical access to the rock, this impression presents the work off-site where my artwork becomes a remotely accessible experience.
My Impressions enhance texture. The imperfections and cuts of the drawings mimic the natural aesthetics of the original carving .
Here’s the Moose Rock with the Aspy Bay and Cape North in the background. My intention was to carve fish and fishermen, but my host argued that people there ate as much moose as fish, so I carved this moose.
Below, shows the carving painted for printing and a rice paper impression made from the carving.
Philosopher and author, Alva Noe, characterizes my work well:
” The very project, then, is a social experiment; the artist works with rock and carving, but he also works with this more immaterial material of delicate social relations and community. This is no less the stuff of his art.”
Read more about it here :
http://www.npr.org/sections/13.7/2016/04/23/474717276/making-art-from-life
This carving features a working cowboy, Morris Ware, from the community around the carving, Jerry Brown had invited some funeral directors out to Ingomar to stay at the Bunk n’ Biscuit, ride horses and push cows during the day, and hang out at the Jersey Lily at night. I tagged along one day while they pushed cows closer to the ranch for the fall roundup.
The best part of the day was lunch at the Newman’s ranch.
This carving was made for Bettina Hubby’s “Eagle Rock – Rock N Eagle Shop”. It was carved at the terminus of the a limestone quarry in New Hope, PA. The fissures in the rock made it a challenge, but the piece is sheltered and well protected.
All around the carving I made pictographs of concentric circles and emblems. The patron of the piece *did not like* the pictographs, but they are my favorite part of the piece, so we compromised and most remain.