Vampire Hunting Kit with Michael deMeng, Day One

Today starts another adventure in the world of assemblage art taught by Michael deMeng through Valley Ridge Art Studio and Katherine Engen.  This year we are returning to New Orleans for a Vampire Hunting Kit workshop.  This is the fourth time the group has been here and the third workshop that I have been able to attend.

Michael and Katherine defined the workshop this way:  "So in this workshop you will be using your artistic skills to modify an everyday box or case into something that will send shivers down the spines of those nocturnal lurkers."  What this means for traveling is that you not only will need to worry about the weight of your suitcase because of your clothes but also because of your art supplies.  While I have a well-deserved reputation for bringing my entire house to drive-able workshops, I decided to go minimalistic for this one and stuffed all my assemblage crap into my checked luggage bag.  Even after doing that, my suitcase only weighed in at 40 lbs.

Being the only person on the planet who did not know Southwest flies direct to NOLA, I booked an early morning flight out of Milwaukee on United with a transfer in Chicago.  The good news is it was only $336 round trip and I would get to NOLA early.  The bad news was that Denice came to the airport to eat breakfast with me only to have us discover that the one decent restaurant at the airport has been remodeled and no longer is open to serve breakfast (at least on Sundays!). 

Not my photo (I just wished I had taken it)

On the plane, my seatmate was opera singer Julia Benzinger from Connecticut who had just sung Beethoven's Ninth in Sheboygan the night before, had a big thick book along to read and was wearing a piece of steel wire jewelry.  Yeah, we had a few things in common.  Because the flight to Chicago takes approximately as long as it takes to get air born and land again, we talked almost the whole flight. 

On the whole trip, I managed to read A Fair Maiden by Joyce Carol Oates.  This is a creepy little story about a sixteen-year-old girl named Katya Spivak who is stalked by an artist named Marcus Kidder.  At times a novel of pedophilia, at times a novel of manipulation and at times a novel of sociopathic behavior, it ends up being a typical Joyce Carol Oates novel.

Arriving in NOLA proved easy and a short hotel shuttle ride later found me at the Four Points by Sheraton on Bourbon Street in New Orleans.  We might as well get this out of the way right away:  the Four Points is a nice hotel and my room is actually on the Bourbon Street side of the complex.  I do not hear the noise at night but it does go on all night long out there and I think the Street may have gotten even more sleazy since the last time I was here two years ago.

In a home with cockroaches, you are warned not to get up in the middle of the night and turn on a light.  The same can be true of Bourbon Street--you do not want to go outside the hotel until after the city and all the bar owners have washed and disinfected the streets in the morning.  I am not kidding--disinfected.  That said, NOLA is a fascinating city that is a lot more than B Street as you will see if you stick with this blog.

Once unpacked, my first order of business was to call Katherine Engen to see if I could hook up with anything going on today.  Katherine and her bestie Bill Weber were heading over to The Grill (formerly the Camellia Grill) for lunch because every other restaurant in NOLA was filled with families doing the Mother's Day thing.  Camellia is a throwback '50s lunch counter where all (but one) of the waitstaff are African-Americans.  Everyone wears white coats and black bow ties so it feels at times like eating in the dining car of a railroad in the '50s to me. Check out the photos in upcoming blogs to see what it looks like. Anyway, the food is great and today I had Gumbo and a BLT.  Bill picked up the tab.

Bill and Katherine were nice enough to let me share a cab to the New Orleans Museum of Art (NOMA) where the main exhibition was a lifetime of stuff by an artist named Mel Chin.  Chin appears to be one of those artist who has not had a thought that he could not turn into a cool idea made in a completely different medium from the previous work he had done.

image by Michael Stravato

I especially liked the collage of called Funk and Wags wherein he cut images from the old text and made very amazing works of art.  My favorite was a tree next to a human head where the root has grown in the skull and cracked it like an old sidewalk.  (Please note:  no photographs were allowed in this portion of NOMA).

Chin credits Marcell Duchamp and Joseph Cornell as influences which is cool because I was able to see 15 pieces by Cornell displayed in their own room.

While Cornell may not be the best by today's standards it is important to remember that he was a pioneer in the field of found object assemblage and opened a door artists are still walking through.

Another influential artist was Robert Rauschenberg and the museum also had a exhibition recreating one that had happened awhile ago called Five on Five in which Rauschenberg had a few pieces and may have been the curator although my memory is fuzzy on this part.

Outside of that exhibition there was a huge quilt like structure which incorporate toy soldiers and a variety of other found objects.  This might have been my favorite piece to see: Shawne Major's War Channel (2008).  It appealed to me thematically but also as a pure assemblage piece.

We raced to the third floor which has a world mask collection but time ran out and we were kicked out at 5.  Our next objective on Katherine's list led us to riding the trolley line back downtown.

When we got off the trolley at Canal Street the nicest, sweetest sounding busker sang a song for Bill and Katherine that I thought was pretty darn cool.  He did not even sing to me and I tipped him anyway.

Then hopping a cab, we arrived at the Rock 'n' Bowl wherein a combination of food, alcohol, bowling and music is offered every night.

To my great surprise, on stage was a band I knew.  Three years ago during this same kind of workshop, we had cabbed to a place called Tipitina's to see them and now here they were again.  The music was so good we were able to stay for two sets.

Most of the lyrics are in French.  The magnificent and well coordinated dancing is amazing to see.  

Bill Weber got a lesson on the washboard and then concentrated on his part.  

Getting away from Rock 'n' Bowl proved to be a bit more challenging.  Katherine called for a cab which came and we got it.  But it turned out to be a cab for another party at the Rock 'n' Bowl so we got out.  Then another cab came and we got in despite the fact that the little old lady driver had a massive amount of crap in the front seat.  As she pulled away she kept saying she was not supposed to pick up in New Orleans.  Katherine finally asked her flat out, "But you drive in New Orleans so what's the deal?"  It turns out she was at the Rock 'n' Bowl to pick up another group and she could only do that in a suburb of NOLA.  Go figure.  She she did a U-turn and we went back to the Rock 'n' Bowl again. (Personally I was relieved to get out of here cab as I believe she was a real Witch.  Really).

Finally a third cab showed up to drop someone off so we thought it was a good idea to grab that cab.  But the driver was having a fight with the woman who was paying the bill.  We got in anyway and as he drove off he referred to the woman as "suspicious" and "disrespectful."  He was a Pakistani who had been living in NOLA for 15 years but despite our best efforts to be un-suspicious and very respectful we could not cheer him up. 

Three cabs later we are finally at our restaurant of choice for dinner: Coop's.  Not sure I quite get Coop's but there is always a line to get in and have bad service followed by good food.  While Katherine was inside doing her private lady stuff, Bill and I were outside standing next to a woman who had a Hand Grenade in her hands and was a little toasted.  She announced to us that it was about time she had something to eat which led to a conversation wherein she revealed she was in town for the International Reading Association convention.  Her name was Cindy Sellers Roach and she works for Heifer International as their Community Engagement Manager.  When Katherine came back out of the restaurant she was excited to meet someone from a company she believes and invests in.  When it was Cindy's turn to get a table she was passed over for our threesome.  When we sat down in the restaurant Katherine bemoaned the fact that she would have like to talk more to Cindy about Heifer so I went back outside and asked her if she wanted to eat with us.

Not my photo but evidently you can find anyone on the Internet

The poor woman hardly got a chance to eat her food as we plied her with questions about her company.  She represented her company well and it was a most entertaining dinner.  Bill paid for dinner and if you keeping score, it is now Bill 2, Gary 0.

After dinner I thought it might be time to let Katherine and Bill have some time to decompress from having to be with me all day so they headed off to have a drink.  I decided to walk Bourbon Street.  The feeling that you can do anything you want was in the air.  Either I am getting old or the street is getting even more free spirited than I remembered from my other visits. 

When I got back to the hotel I found Katherine and Bill plus a few other attendees in the hotel lobby such as Tina Berrier, Stacey Stewart, Lois Inman Engel and Kathy Gould.  We all were waiting for Kristy Duncan (KD), Michael and Andrea to show up which they did around 11:30 p.m. 

At 1:00 a.m. a decision was made to walk to the Clover Diner for dinner where I not only ate half of Katherine's burger but paid the bill.  The irony of this part of the story is that Bill Weber did not join us so that he is still up 2 checks to my nothing.  But, it is going to be a long week. (Upon further review, it turns out I never even bought Bill a drink the whole damn week.  I owe that guy big time).

Below is Andrea Matus deMeng, Michael deMeng, me and Kristy Duncan at the Clover Grill.  (Photo be Katherine Engen--I swear Michael is not drinking out of the soda I am holding). 

They Woke to the Possibility of Desire Instead of Duty

I wake to the possibility of desire instead of duty
Elizabeth Dodd, Horizon’s Lens:  My Time on the Turning World

As a part of the Michael deMeng on-line workshop Punk Fiction, the second section is devote to creating The Cave of Pages.  The idea is to create a zone in your work of art that makes it seem like the viewer is peering through layers to the back of a cave.

As my first attempt I decided to start with what I believe would be a tool box tray that has three separate compartments.

I decided that two of the compartments would have images so I selected two cabinet cards that I have and painted them up so that they would be bright enough buried deep in the cave.  (I also would eventually punch holes in the sides of the metal tray to let in some light--an experiment that will show over time if it is needed or actually works as a technique).  The balance was always going to be female on top, male on the bottom and a heart in the middle.  The heart is a stone I collected when in the Denali region of Alaska on a walk Denice and I took in a river bed near our hotel.

I have learned from past failures that the first thing one should address when working with a 3D object that is going to hang on a wall is--how is this going to hang on the wall?

That done, I could move on to some additions to the perimeter of the tray.  What I selected was an old rusty ring I had bought in a special sale that my friend Brenda Schweder was having of items shipped to her from the desert.  Then it was some cheap tin wings and one part of a tea strainer.

How was I going to create the cave's stages?  I selected foam core and Aves Apoxy Clay.  Once those were painted, it was a matter of assemblage.

Once I had the cave constructed I realized it needed some care and feeding.  I decided to edge the foam core in the tray with caulk and that was all it took to be done.

The title was a modification of the quote that started this blog.  So, now we have They Woke to the Possibility of Desire Instead of Duty.  

Mirroscope: the Buckeye Stereopticon Company

While shopping at a flea market at the National Shrine of Mary Help of Christians at Holy Hill in Wisconsin, Denice and I stumbled on a Mirroscope with a box of slides on one of the dealer's tables for $40.  Thus, the classic assemblage dilemma was set up:  how historic is the piece I am about to buy and can I hack it all to hell without a wit of conscience?

This was a hard one.  I liked the historical nature of this old projector and really wished it could be sitting in a museum somewhere.  On the other hand, if it did have great value to mankind's knowledge, would not it already be in a museum and not sitting in a flea market waiting to be sold for a minimal amount of money?

What is a Mirroscope?  Here is the basics (and the photo above) according to the Museum Victoria website: "Mirroscope, a projector known as an episcope, and sometimes called a magic lantern. The mirroscope was made by the Buckeye Stereopticon Co., Cleveland, Ohio, USA....Inside are two light sources, which illuminate the object to be projected. Usually this object would be a postcard, photo, or other printed matter, but objects such as coins or leaves could also be projected. The light is reflected through the lens, and the image is projected onto a wall or screen. The light sources are burners. The two chimneys are directly above the light sources, allowing the heat to escape while preventing light from entering. Focus is achieved by moving the telescope lens tube in or out...A six-faced object with a lens attached to the front panel. There are two cowls on the top to release heat produced by light source inside object. Rear panel is hinged at the bottom and opens to reveal a dual burner and mirrored reflector plates. Supported underneath by four feet".

After reading the above, my Mirroscope at some point lost its two cowls and had been converted to electricity.  Now I do not feel so bad about hacking it all to hell.

From the minute I saw the Mirroscope, I knew what I wanted to do with it.  I wanted to create a human shape wherein the image within would carry out the theme of the piece.  So step one became attaching some arms to the Mirroscope.  Over the years, after many tries at attaching stuff and having it fall off later, I have learned to create armatures for everything I want to stay on.  Because I always work in my front room in front of the television, I have to find interesting places to use as vices, braces and rest stops.

Eventually a matched set of arms are threaded through the Mirroscope and anchored with the rebar wire armature.  I made a decision not to add the feet I had planned for and keep this one a tabletop piece. 

A bigger challenge is what I want to do with the projection aspects of the head and body.  In rummaging my own basement, I came across a welder's mask that would work as a frame so I hacked into the head to create a passage way for the light and secured the mask to the head.  For the head, I selected a mannequin form I had purchased for a workshop and then never used. Then I had to Dremel an opening into the top of the Mirroscope to provide a way to attach the head and that was the hardest thing to do in terms of the historical nature of the old projector. 

Within the mask, I wanted to add an image.  I had an opportunity to do a model shoot at a photography studio so I decided to use one of the shots to represent what the guy is thinking. 

The last key element was what would be projected from within.  What stronger "within" is there but a heart?  So I used an image from an old anatomy book to create the red heart that would be projected from with the Mirroscope. 

I re-wired the electrical enhancement to the Mirroscope and left the back door flap of the projector unmodified so that I can replace bulbs as needed. 

Then it was time to put it all together with each joint carefully secured with Aves Apoxie Clay.

Painting this piece was a matter of finding the golds and greens in the Mirroscope reflected in the body parts added. 

While thinking about the theme and dealing with the name of the company, at the last minute I decided this piece needed some "buck" in the buckeye so I added antlers and painted them into the piece. 

So with $65 worth of stuff and after seven hours of work, we have Mirroscope: the Buckeye Stereopticon Company. 

At some point I will try to take better pictures of this one but the challenges are more than I can handle right now.  I hope you can at least get a sense of what this looks like when it it lit and when it is not. 

Speed Decayer

Determined to work small, I decided to launch into a project with the overall goal of not growing this object into something I cannot fit in my basement.  OK, I'll admit it--that is where I store all my stuff.

After a trip to the basement for parts, I decided these would be the base elements for the piece.

The first two steps involve evolving the trike and the doll body into something else. 
The trike needs a steering wheel for my purposes, so I found this plastic piece which I assume is an artificial flower frog.

And, because this is me--off with the baby head! I found this possum skull that seemed the right size so on it went. 

Both of these items were attached with Aves Apoxie Clay.  Because I am working at home and do not have workshop anxiety, it afforded me the opportunity to let the attachments dry for 24 hours.  This makes a big difference as I will admit, that on  previous occasions, in my haste things have flopped off because it does take a good cycle to have the clay really set.  Painting after a few hours OK; twisting and bending not OK. 

Once a day had gone by it was time to see how the piece would look assembled.  I decided that the piece needed another caster on the back to help with the look.  Eventually I will also add an extension on the front that includes a hand and an eyeball.  But what I really thought would unify the whole effort was to add something akin to a dinosaur's spin to run from head, across the back and out to form a tail.  So I reached for the Aves Apoxie Clay again. 

The next step for me on this piece was to unify everything with color so I started with a little caulk on the whole piece and then a coat of Titanium White.

One more last minute addition:  a big old floppy tongue made out of Aves Apoxie Clay.  Then I painted this little guy up.  Here is the final product:

So, after 5 hours and $15 worth of junk, I had Speed Decayer.  The last picture is how you will see him if he ever passes you on the highway going realllllllllllllll fassssssssst.