Origin. I found an image of an Emu egg and was blown away by the perfection of its shape. I traced it in Affinity Designer, discovering that it was almost a perfect mathematical ellipse — just a bit narrower at one focus. Inspired, with a nod to my man Brancusi, by the presence of perfection in nature and the primordial beginning of all things.
Huh. Looks like I've forgotten to clue you in on just what the heck a "Terralogue Totem" is.
“Terralogue Totems” are a set of sculptural designs based on the concept of the land speaking; these messages being symbolized through metal emblems. The designs are executed in three distinct formats: large sculptural Monoliths, Bike Racks, and Bollards."
Maybe these little explanations we included on the plaques will help:
I've been spinning in place a bit. On a whim, I tried dipping into Brian Eno's Oblique Strategies for a little inpiration, and the message was "Retrace your steps." I wandered back through the timeline of my experiences as an artist, and arrived at the time when I had first fallen in love with the computer as a creative tool. I was using my Apple Macintosh LC, and had installed a program called "Canvas" that had an unbelievable set of both vector and pixel tools. I remember the clean, infinitely-tweakable lines (command-Z, how I love thee!) that I could use to make drawings. I wish I'd managed to save some of that stuff so we could have a good laugh.
Anyway, like any proper geek, I have a dual-boot system with Vista and Ubuntu. Part of my inertia has been related to frustration with the constant pull of new and newly-upgraded software, especially the heaps of cash involved. Thus the appeal of Ubuntu - and of Inkscape thereon. Inkscape is, IMO, the best Open Source software available. I own a license of Adobe Illustrator, and DREAD opening that bloated behemoth - Inkscape doesn't have the depth of tools, but that's the point. It is a streamlined Illustrator driven by the needs of the user rather than the need of a corporation to sell licenses and upgrades. Another contrast comes from my involvement in 3d modeling - it just starts to feel like the means are so involved that the ends often seem off in the foggy distance. Vector drawing brings the immediacy of making marks on paper to the computer, while still allowing amazing control over the process.
Assembling the "Meme" piece.
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I've been working on some ideas for more utilitarian designs - if you can call a candleholder useful. The first image is the sheet metal shapes as modeled in FormZ.
And here is the first prototype in 14 gauge stainless.
This is (kinda) what it looks like with a tea light candle inside. I made a little platform that sits inside that will hopefully make the thing a little safer - the top of the enclosure does get pretty hot, but one of the unique properties of stainless steel is it's low thermal conductivity compared to other metals. The top gets hot but the sides stay cool.
The whole point of this piece is the pattern generated by the flickering light traveling through the holes, but my low-light camera skills is be real goodz - I could show you the pretty black rectangle I made, but... yeah.
Making art is a very personal process that oftentimes borders on mental masturbation. Maybe that's why I like it so much >grin<.
Creativity can be seen as a dialog you are having with yourself, with the dialectic centering around finding balance between your own skills and the qualia of the medium your dealing with. For me, there is a fine line between craftsmanship and fussiness - perfection is an idea, not a reality. If your work is exclusively about dotting i.'s and crossing t.'s, expressing nothing more than "look how good I am", then it's appeal to an audience that is not you becomes pretty limited. Striding the razor's edge between craft and expression can be seen as the fundamental struggle of artistic endeavor. I have learned to trust my eyes and my hands to produce that which I see in my mind's eye - but I've also payed a price physically while developing that trust. Both wrists and my right shoulder are permanently damaged from pushing just a little harder to get that piece done. Growing older and becoming more involved in large Public art projects have forced me to outsource the fabrication of the bigger sculptures, with a commensurate loss of control. I'm still learning how to make this new process work.
The above pictured piece, "Together", was fabricated by Master Metal Works here in Fort Collins. They've done a good job - but not as good as I would have done. That's the crux of the issue: surrendering just enough control to get the work done without sacrificing the overall quality of the sculpture.
Sometimes I feel really limited by the constraints of reality on my creativity. Trying to always figure out how to make something out of real-world materials can be a serious buzzkill. Inside my computer, though, I'm free to experiment and do things that would be impossible eldewhere. I use the amazing ZBrush to sculpt digitally what I can't make with my welder. Very fun.