Wednesday, March 14, 2012

Donny Learns the Unintended Consequences of Eating Too Much Sushi

I introduced my brother-in-law Donnie to the wonders of sushi.  Over the years I have begun to call him "Too Much Sushi Man" in the tone of a superhero voiceover.  This comes after such male bonding experiences as sharing The Love Boat and eating raw stuff that still has its eyes attached because we wanted to prove to the cute waitress that we were "adventurous."

Then, at work, we were cleaning out our lost and found and my staff gave me this little purse with the challenge, "I bet you could do something with this!"


I decided in order to teach my brother-in-law a valuable lesson, I needed a Steve Austin action figure to go with it, sans his head. 


Here is how Steve feels about it.


I can tell that I am becoming an experienced assemblage artist because the idea of sticking a little girl's purse onto the neck of Steve Austin no longer seems daunting.  A little bit of rebar wire and a lot of Apoxie Clay later and there you have it.  As for poor Steve's decapitated head, it was attached to some more wire and some aluminum foil in order to create the fish's tongue. 


Painting is always the best part and takes the most time.  For Donny's head (the former Steve Austin head--not to confuse you), I painted using the Kroma Crackle technique taught by my hero, Michael de Meng.  This stuff is great for giving an alien, fish scale, creepy look to anything. 


Add in a set of chop sticks and some fishing line weights and the figure was ready to go.  I hope I have not insulted the combined nations of China and Japan but I hand letter the word Shu on one side of the chopsticks and Shi on the other. 



Early on I thought it would sit in a plastic box I had but I went with a chunk of wood instead.  This let me apply another de Meng technique, the burning shellac routine.  Yes, some blue paint, some glue and some shellac and --whoooeee--set it on fire.  The base has a nice watery feel to it due to this. 



As often happens in my art, I had a feeling this piece was not done.  I realized that it could not really stand on its own.  No, literally, it could not stand on its own.  So, I had to nail some barn nails into the front of the wood in order to keep Donny upright.  Of course, because I act before I think, that split part of the wood base but thanks to the miracle of Apoxie Clay, all was well again. 


Then I decided that I had a foreground but the whole thing need a background.  So I found this wire basket thingee I had from some rummage sale (10c) and painted it up.  After adding in more fishing line weights and some fish net from Jo-Ann's, I decided I was done.


Confession:  I eat more sushi than Donny.  But what is the fun of picking on yourself?  Just remember, the next time someone says, "You are eating too much of that--you are going to turn into it," you have seen how it is done right here.


Friday, February 24, 2012

New Orleans 2012: Valley Ridge Art Studio, Michael de Meng, and La Fantome Maison; Mission Accomplished

When last we were discussing my project from NOLA, I knew all along that in order to get it home in my tool box it was going to have to stay very north-south.  It was always my intention to make it east-west when I got home.

The cool thing about junkin' your own basement is you can always find something that works.  I have a bin full of things that are flat and round and when I dove into it I pull out this rusty circle that I remembered thinking it was so cool when I bought it, probably for 50c, until the guy told me it was an old basketball hoop.  Now, it was still cool, but not that cool--but now I had picker's freeze--no way was I going to put this back.  It came home and now became the perfect addition to my piece.



I have also fallen in love with what I call barn nails.  I have them in every size from less than an inch to almost four inches in length.  For this project, I wanted the nails to not be symetrical but rather seem to make the piece flow inward and outwards, so I attached a ton of various length nails.



I also have fallen in love with lighting everything up like a Christmas tree.  I am not sure when this would ever be exhibited in a dark gallery but I think it is a cool effect, especially because of the subject of the transfer.




The use of text was very important as I told you before and I was chilled a little at the random but significant way the words appeared in the area of the shrine where gifts can be left.





I am really happy with the look of the piece.  Here is my story about what it means.



The tintype photo is a picture of the woman who haunts this work and the spirit to whom the offerings are made.  She once had her man and he loved her like no other woman.



But, as sometimes happens, a woman can do something very wrong.  Unintentional, accidental, unavoidable.  When this woman made her mistake, her man loved her so much that he confessed to her crime.  Ultimately, he was sacrificed to his good intentions.  Did this set the woman free?  Would he have suffered worse without her?  Does she suffer more knowing she lost him to her own actions? 



The answer is there is not a day she did not feel such guilt that eventually she was swallowed up by the pain and committed suicide.  His noble deed has only made her feel worse.  Her ghost still roams, unable to reconcile how his good deed did not abolish her bad actions, and thus she becomes Our Lady of Unintended Consequences. 

So, after 20 hours of work and about $25 worth of materials, we have a finished NOLA shrine. 

Wednesday, February 15, 2012

New Orleans 2012: Valley Ridge Art Studio, Michael de Meng, and La Fantome Maison; The Last Round Up

Although the last post said it was day three and four, I believe it was also day five. Of course, I don't often read my own blogs. 

OK, yes I do.  And when I did I realized that time had little meaning for me in NOLA. 

Anyway, day six was Saturday, February 4th, and this day I joined a group headed to Camellia for lunch. Unfortunately, the place was packed with a long line so I decided to do a Subway and wander around taking pictures.  The most amazing thing about NOLA is that no matter which direction you walk anytime, there is something going on.  Today I was in the Jackson Square area and stumbled on these:








Saturday afternoon was the end of our play time and in a Michael de Meng workshop that means you can work all you want until you hear the theme music from The Good, The Bad and The Ugly.  The bad news is that when that happens, Michael says it is "Pencils down!" time.  The good news is that Master, Oh My Master then does a critique of each person's efforts.  Everyone learns from a going over of each attendees' work and a good time is had by all.


Here is the cumulative effort from our class.  My apologies to some because the pictures were blurry so I have borrowed some shots from other postings. 



Marilyn Werst and mine


Marilyn Werst


Pam Rogalski and Marilyn Werst


Karen Rexrode


Marline Smallwood


Marci Donley


Marci Donley


Penny McDonald


Carol Clark


Evelyn Finley


Rob McDonald


David Donley


Kelley Clarke (via Katherine Engen)


Lori Burke (via Katherine Engen)

On this nonstop trip, don't think we were done even now.  No, now it was time to kick off Mardi Gras by attending the Krewe du Vieux Parade. 







After the parade, we cabbed it over to the Garden District to one of my favorite spots to eat in New Orleans, Atchafalya at 901 Louisiana Avenue.  For the second year in a row we capped off our adventure with a fine meal with good friends.  Thanks to everyone for making this workshop and tour so special.  A big thanks to Katherine Engen, Michael de Meng, and the best table mate in the art world, Kelley Clarke. 

No doubt about it, this event was...



And, because Valley Ridge, Katherine Engen and Michael de Meng already know they will be back next year, I guess you can say that New Orleans should


in 2013!

To view all the photos from this trip, visit me at  http://www.flickr.com/photos/gniebuhr/sets/72157629309192759/.