They miss their tentacly overlord, I think.
I think these Bones pieces are amazing. Very cool concept.
My advice to you... and I could be way off base here: You probably shouldn't worry so much about the piece being "perfect". If you don't get the feeling it's complete, just let it sit until you have some understanding about how to make it better, but don't monkey with it for the sake of trying to make it better. If you don't have a clear direction on what needs to be done it's just going to fuck it up.
That's good advice, and I follow it regularly. Once I get a piece to what I think is about "halfway" done, I put it aside for at least three weeks. I actually have to hide them from myself for a while or I'll wind up wanting to rip them up.
The trouble is, I've let things sit for as long as a year and a half and still not felt like they were finished until other people asked for them.
This piece has been around for about two months now, which isn't very long. It's had a couple of short waiting periods, so it may
need one or two more before I feel satisfied.
Also, thank you.
I like these. The texture (what I can make out) is wonderful. They are like bone insects. or insect bones. They look like they're dancing or hugging.
Thank you. Yes, that was the idea, that the two sets are courting each other without touching.
they make me think of neurons.
Huh. That didn't even occur to me. I think someone drew a parallel between synaptic function and my Aerial City thing as well.
That's beautiful. I like how you haven't filled the canvas up (I know I'd be tempted to). I always think my mum would love your work as she used to make very tactile pottery.
Thank you. Yes, I was tempted initially to add more bones. I'd run out of milliput. But then when I acquired more I decided to leave it alone. I think it was the right decision.
Do you have any of your mum's pieces at your flat?
Sadly not. I intend to take some photographs next time I'm home. If I ever won a large sum of money, I'd build a pottery shed for my mum.
This resonates with an impression and a memory that I'd never thought to join- it brings the recall of a moment when I swam out about a half-mile from a small cay and began to move toward a place where the color of the bottom seemed to change. I was swimming on my back before I looked down, and sometimes think back on the seconds before I realized that I'd swum across a submarine cliff that took me from white sandy shallows to what felt like immeasurable depths (it turned out to be the edge of a continental shelf). Just then, it might have been the biggest rabbit hole ever, but I was just seeing the sky.
This piece is a vision of conscious suspension unfolded over unconscious depths. ... beautifully intimate. The other beautiful canvases in this series spoke to me of identity and creation through synthesis, driven by the same animus. They're angles on a scene. Sometimes I've felt tempted to touch or lick your pieces. This one I feel like secretly melting in my mouth.
I agree with the suggestion that only you ever know when a work is finished. I always see artist's intent as sacred and overriding. Taking time to decide you're done is to allow yourself room to ask the question "Have I said my peace?" and to let the work answer.
As always, thanks for sharing.
This week, I've had the urge to put a wire on the back of it, which I'm slowly learning to take as a sign that my intent has been satisfied.
Thank you for sharing the sense-memory, too.
I loved the first set of bones, and I love this one too! You are so damned talented it boggles the mind.
Revisiting comments like this helps me keep going, so thank you.
I also love the empty space. I'm not sure why. Maybe it's the sense that the bones have room to reach and grow. There's something so organic about your work.
Thank you. I like how uncrowded they are. Using the longer canvas allowed me to stretch the figures out. I think the cramped little squares ended up causing some of the frustration I felt with the first bones pieces.