little miss messy hair
better like umbrellas

Archive for the 'art' Category

There seems to be a theme

Wednesday, March 27th, 2013

Did it start with the umbrella?

Ist es mit dem Regenschirm angefangen?

inTruck - Finial View

I not sure, but it continued with the sunshine mitts:

Weiss ich nicht, aber es ging mit den Sunshine-handschuhe weiter…


and then there was a scarf…

und dannach kam ein Schal…


a hat…

ein Hut…


some mitts…



and now this …

und nun…

great starts here

yellow orange blue, yellow orange blue, and maybe some more yellow orange and blue…

gelb orange und blau, gelb orange und blau, und dann vielleicht etwas gelb orange und blau

It’s Official

Thursday, January 24th, 2013

We survived 2012. The world was supposed to end on 3 separate occasions and yet here we are. Imagine that.

Wir haben 2012 überlebt. Die Welt sollte wenigstens 3-mal vernichtet worden und trotzdem sind wir noch hier. Wer hätte das gedacht.

2012 was insane for us. SOP got a sculpture commission for one of the TRAX (light rail) stations on the new line going out to the Salt Lake Airport. While the commission was awarded in 2011, one of the elements required the help of a machinist due to beefed-up specifications on the part of the engineer. For the machinist, this job was minor and he kept putting it behind other jobs that would come in. Basically, it was over 6 months after SOP had given them the materials and payment that the job was ready to be given back to SOP to be incorporated into the sculpture. And because the incorporation of these pieces was integral to the next steps, it gave SOP a rather tight schedule for 2012.

But oh well. We received word that the installed piece got its final stamp of approval and so now I can post images without worrying that I am jinxing anything.

The piece is a representation of the wetlands of the Great Salt Lake. The lake serves as a staging ground for many birds. The sculpture consists of two pieces each with a stainless steel base covered with copper spheres and hemispheres representing the river bottom.


Twentyfour inches up from the base is the surface of the water – a stainless steel plate with a section cut out from the center through which stainless steel reeds come up. The reed grasses were created with 4 lengths of stainless stell pipe and rod in progressively smaller dimensions, welded together to for the joints of the reeds and then ground back and polished. Additional blades were attached to many of the reeds to add dimension and stability.




The water surface includes 5 panels of braille which were cut out of the plate, machined to add holes for braille, then welded back in to the surface to create seamless integration. The panels contain lyrical descriptions of the 3 different birds represented in the sculpture, the Great Salt Lake, and then an artist statement. This train stop serves the Utah Library for the Blind and Disabled and SOP really wanted to bring that into the piece.



Nestled among the reeds are angular bird forms cast in bronze. The Great Salt Lake is vital to each of the three bird types represented.




And there we have it.



What we’ve been up to

Monday, October 15th, 2012


Did I mention that SOP received a public sculpture commission? Although he’s been working on it for over a year, the last 3 months have been full on every weekend and most evenings of welding, grinding, soldering, and – most recently – mold-making for bronze casting.

The image above shows two rejected forms in the foreground. The method used for those was to cut sheets of wax into facets and place them on the form shapes SOP had created. It took us 2 days to get the 2 birds done in this way, which led SOP to think that maybe he would not worry about casting some of them as solid bronze instead of as hollow forms. So, we sent the rest of the weekend dipping the original foam forms into wax to build up a thick shell for the bronze casting (SOP is still planning on scraping out some of the foam on the larger birds as possible).

Anyway, that is what we have been up to. Very little knitting has been done, not enough hiking and absolutely no printing -although I did attend a one-day workshop on moveable books with Shawn Sheehy that was very fun! I can’t wait to apply some of the concepts!

We did get out to the salt flats for the perseids meteor shower in August. I present you with a long exposure shot from that trip complete with lighted ball, frisbee and headlamp.


The start of the volvelles

Wednesday, October 12th, 2011

So, the volvelles did not start out that way. Initially, the idea was for a series of prints each with a different type of treatment for certain ailments. As I worked on the treatment types: Common Western, Traditional Chinese, Self-Medication, etc., the idea of a volvelle came into my head. I was taking an advanced letterpress class at the time and was encouraged to give it a shot. Holy crapamoly, i had no idea what I was getting myself into.

My initial layout was done on paper, sketching and turning so that the eventual holes in the front of the piece would like up with different parts of the body, or ‘areas of malady’. The trick was that with 6 different treatment type stations, things had to be placed so that text would not overlap or be visible in another hole. It sounds simple, but with my layout, and my brain, it wasn’t.

After the first consult on my piece, I was encourage to make te volvelles larger – ending up with an 11.5″ (cm) disk. Somehow, this messed up my initial sketches and I spent way too much time in Illustrator repositioning everything and finalizing what the areas of malady would be. Eventually I wound up with a hole layout like this:


Which would result in reserved spaces for 6 alternate text blocks like this:

No overlaps!

printing for the insane

Monday, September 26th, 2011

There were many times during the making of the two ‘Amazing’ volvelles that I doubted my sanity. This was one of those moments:

volvelle text set-up press view

Während ich die zwei ‘Amazing’ Volvelles drückten, gab es mehr als ein paar Momenten wann ich mich auf meiner Vernunft gezweifelt habe. Das obige gebildete Moment war eins davon…

To print angled text on a flat bed press, especially the text as I needed it set, was not so easy. I could have had a zinc cut made, but that would have been too simple, surely…

Abgewinkelter Text auf dieser Art von Presse zu drücken – im besonderem der Text wie ich ihn gesetzt habe – war nicht so einfach. Ich hätte einen Zinkschnitt (? – muss ich nachschlagen) machen lassen, aber das wäre wirklich zu arglos