my pacific coast muse

Category: art (Page 2 of 2)

zeroes on the loose

I had a great meeting with Iain Boal yesterday, working on a book project with Iain and Ren Weschler. Iain shared this beautiful poem by Wisława Szymborska.

edge of the pacific

Possibilities

I prefer movies.
I prefer cats.
I prefer the oaks along the Warta.
I prefer Dickens to Dostoyevsky.
I prefer myself liking people
to myself loving mankind.
I prefer keeping a needle and thread on hand, just in case.
I prefer the color green.
I prefer not to maintain
that reason is to blame for everything.
I prefer exceptions.
I prefer to leave early.
I prefer talking to doctors about something else.
I prefer the old fine-lined illustrations.
I prefer the absurdity of writing poems
to the absurdity of not writing poems.
I prefer, where love’s concerned, nonspecific anniversaries
that can be celebrated every day.
I prefer moralists
who promise me nothing.
I prefer cunning kindness to the over-trustful kind.
I prefer the earth in civvies.
I prefer conquered to conquering countries.
I prefer having some reservations.
I prefer the hell of chaos to the hell of order.
I prefer Grimms’ fairy tales to the newspapers’ front pages.
I prefer leaves without flowers to flowers without leaves.
I prefer dogs with uncropped tails.
I prefer light eyes, since mine are dark.
I prefer desk drawers.
I prefer many things that I haven’t mentioned here
to many things I’ve also left unsaid.
I prefer zeroes on the loose
to those lined up behind a cipher.
I prefer the time of insects to the time of stars.
I prefer to knock on wood.
I prefer not to ask how much longer and when.
I prefer keeping in mind even the possibility
that existence has its own reason for being.

– Wislawa Szymborska, from Nothing Twice, 1997

The Fix

So the abalone kintsugi project is at the San Jose Museum of Art for the next six months, part of a show called “Your Mind, This Moment” curated by Susan Krane.

The piece is out on a porch, off of the second floor gallery. It will be out in the rain and the sun and the fog. I love the idea of it being back in the elements, such as they are. Rich Karson built the ideal redwood table for it, and carved some redwood supports that curve perfectly along the inside of the shell.

I’m taking a break for now, while I focus on a new work for an upcoming show at Hosfelt Gallery, but eventually I’ll get back to fixing broken abalone. It will be interesting to see how the pieces I make in my studio will meld onto this initial shellopolis once it comes home from the museum. In the meantime, I love this spot as its first adventure out into the world. I realized it’s also the perfect test to see if I can keep it outside, in case it eventually bursts the seams of my studio.

tidepools

 

anemone01-15

I’m working on a new piece about tide pools, or about whatever it is that tide pools are about. In any case, I need lots of footage of tide pools and of tides, coming and going. Yesterday, the shoot was mainly just dealing with technical issues. I walked along a good stretch of shore at Salt Point, looking for suitable locations and after two hours of being knee deep in the icy Pacific, I was ready to leave. I packed up my gear and stood up to leave… and looked over my shoulder at the next rocky pool behind me. There was an anemone, larger than my head, easily the biggest anemone I’d ever seen. Thinking back to the post about the captive anemone, this must have been an ancient individual. I returned today to spend some time with it. Beautiful.

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collision

four of the Collisions, taken over all three seasons

four of the Collisions

This small stretch of coastal Pacific is part of the Greater Farallones National Marine Sanctuary, and according to the NOAA (National Oceanic & Atmospheric Association), this part of the Pacific experiences three seasons, rather than the four seasons of nearby terrestrial life. They are, with short descriptions: Continue reading

kintsugi

urushi

I’ve been working on this piece since late summer, in short bursts in between other things. The pieces were small, at first. They kept curling in on themselves, the curve of the shell quickly resolving into abalone-sized abalone. And the Japanese enamels traditionally used in kintsugi kept giving me crazy rashes identical to poison oak. I kept pushing against the natural inclination of the shell to curl into a finished form. I wasn’t sure how big I wanted the final piece to me, but I knew I wanted it to grow monstrous. Continue reading

Copepodilia

copepodilia

part of Copepodilia in my studio

The amount of seaweed that washes up in Stillwater Cove is amazing. It seems to be vastly more than any other beaches in the area – forty or so types as opposed to four or five. It’s amazing. And smelly. And I’m learning that the amount also depends on the time of year, with late summer bringing in huge swaths, making deep and wide tidelines.

Just as I was starting to learn the names of all of these different algae, I read in Melanie L. J. Stiassny’s “Opulent Oceans: Extraordinary Rare Book Selections from the American Museum of Natural History” that copepods were the most numerous animal on the planet, and that they inhabited nearly every body of water on earth. I’d heard the name copepod but didn’t really know what it was. I looked it up, but then stopped… and before I could fix a factual understanding of copepods in my mind, I started making these imaginary ones, using the Victorian art of seaweed pressing. They share the basic anatomical structure of copepods, but then veer off into quixotic possibilities, largely dictated by the seaweed itself. The final series has sixty-four prints, 22″ x 17″ on Arches cold press. The final prints have an uncanny three-dimensional realism, yet also look like watercolor in places, bleeding into the paper. There are a few more on my website.

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