Art in Relation to Crates

In terms of building crates for works of art, there are some scale concerns that come to the forefront when the object is to be displayed with this container. The wood itself is "life-size," a 1 to 1 ratio to reality. The object itself may be a different scale, however. In my case, my sculptures are generally smaller than life size. This issue of a sculpture, sitting on a pallet or other wooden structure, in relation to this other object is something I'm still trying to figure out.

Let's say I place a clay trestle on a sheet of plywood, as I have done in the past. There are two contrasting scales at work (unless of course the trestle fills a museum or the plywood is "miniature," a word I hesitate to use.) Changing these variables completely alters the context. One variable I have considered is the plywood or other type of wooden base. I've asked myself if that should be the same scale as the piece. I also wonder if it is something with which I should concern myself, since I'm very much interested in this idea of transportation and moving of objects or goods. The crates I build seem to naturally fit within our expectations, as seen in these well built shipping crates at the Walla Walla Foundry. These are fulfilling a utilitarian use separate from the object. I'm seeking to merge the two.

One reason I feel this is important to address centers around the sculpture in relation to other objects. If the objects around the sculpture are smaller, the sculpture will naturally appear larger. By the same token, if the crate I build seems to large for the piece, the sculpture will feel smaller. My ceramic pieces shrink significantly through the process of making, shrinking anywhere from 10 to 15 percent of it's original size by the time it comes out of the final firing. Size and scale inherently go along with this material.

Walla Walla Foundry Facilities Tour

I recently had the opportunity to tour the Walla Walla Foundry. I had been hoping to visit this place for some time, and I was excited when the opportunity arose. My visit did not disappoint. Mark Anderson, President, devoted a couple hours to the group of us from WSU, generously spending his time to help us understand what takes place at the foundry. From my limited experience working through the casting process, I can appreciate the great deal of time, skill, and problem solving that goes into creating these sculptures.

The facilities were impressive, as were the individuals on hand to keep the place running. It is a fascinating place from an operations standpoint, as well as from the viewpoint of an artist. Internationally recognized and well established artists work with and depend upon the expertise at the foundry in order to realize their projects.

I've come away from this experience with some ideas in mind of how I might apply new techniques to my own working process. The equipment and buildings in this industrial setting were inspiring to me in themselves. A visit to the foundry was a great glimpse into the art world and the working process behind creating sculptures. They make use of some advanced forms of technology, facilitating the process of creating complex and large scale forms. It gives me much to consider, especially as I think about the scale of my own work.

Warehouse in-progress

Right now in my work I'm seeking to expand my subject matter. It has been a couple years since I've explored some of these subjects in clay, so I felt it is time to revisit and push some of these ideas forward. This new series will involve rustic, abandoned buildings such as warehouses and barns. Some may be in various life stages, from more modern all the way to the scrap stage. Color choice is also an important consideration in addition to the form. These are structures which I envision, and I often look at reference images for inspiration. More of a matte, earth tone finish will be applied to this piece and likely all in this series.

Wooden Crates

There is an aesthetic of a wooden crate which is appealing. Although sometimes associated directly with the past, they are still utilized regularly for transporting and storing large, heavy, and/or heavy pieces.

For me, they serve this purpose in my sculptural work as well as an extension of the piece itself. They also seem to me as a means to overcome the pedestal. Although I have yet to work through all of these issues, there is the possibility of displaying pieces on top of these crates or in positions of being removed from such a container. Certain pieces may even be displayed within a crate, depending on the specific installation.

The crate pictured on the red hydraulic lift (at bottom) is one which I recently built. It sits 4 feet long, by about 2 feet wide and 2 feet tall. I've envisioned creating an environment in a gallery setting in which it is as if the viewer just walked into a shipping yard, warehouse, or other industrial seen. Although I very much approach my sculptures as objects, I'm interested in how they might interact together to create more of an installation. I've also gained a deeper respect and appreciation for the process not only of art making but also of transportation; I would like these aspects to be apparent in my work also. But again, most important, I'm drawn to this notion of environment or installation, moving beyond the object so as to give it a new identity.

Intermodal Shipping Containers

For quite some time I've been fascinated by intermodal containers. This fascination began through observing these units traveling on rails or by truck, a versatility that appeals to me. They are also so standardized, uniform in nature. I also for some time enjoyed collecting models of truck and trailers manufactured by a model train company. These containers can be stacked and configured in such a wide variety, creating an ever changing environment and landscape.

I'm also drawn to the strength and solidity of these units. Built of steel to withstand the tests of shipping and protecting its contents, everything about them is designed for heavy use. I find the door design appealing in terms of the large hinge assemblies and latch configurations.

These intermodal units also hearken back to the wooden crate. These containers act as storage and also as a way to transport objects in a more efficient and safe manner. The logistics of operating a seaport, with imports and export flows, is not only complex but is truly made possible by these interchangeable containers.

Railroad Noise Machine

One of my most recent inventions is a noise machine. As part of being enrolled in sculpture this fall, I became part of a noise collective. What I brought to the group is a machine inspired by industry, incorporating a lever, pulley, and other simple devices which create clanking, grinding etc when operated. Like any machine, this one requires repair and maintenance on a regular basis. Springs become detached, wires break; these connections require adjustments and such. The piece brings in actual, used railroad parts, along with other simple materials.

This Old Barn

I've always been fascinated by old wooden structures. Those who are familiar with my art readily think of my railroad trestle work. While a major theme and interest of mine, it is not the only thing I consider in the broader perspective. I enjoy structures in each stage of their life, from the pristine to the decaying. Although there is a sense of loss and regret in seeing an old structure like this fall to ruin, there is a strange beauty which emerges. It is as if that structure, built from natural materials, is even closer to nature.

I feel that very soon I'll embark on a series of barns. One of my recent, ongoing ceramic pieces considers the idea of creating a scene of an old, wood-built warehouse, a harbor scene. It is this sense of commonality which I seek after; the pieces I create are from a similar era. They are industrial and agricultural in nature. Each barn, bridge, or other structure, while fulfilling a similar purpose, is each unique. That is, within each category, the variety is staggering. Like human beings, no two barns are exactly alike. The same goes for railroad trestles and so on. Each carries with them a very specific, personal history. It is as if each has a life of its own, from birth (construction) to death (decay-demolition-return to nature). Each structure influences and transforms its environment, creating a unique viewing experience.

History of the Rails

I have lived by the railroad my whole life and decided to do a little investigating about its past. I uncovered some photos from past days. Locomotive 758, pictured on the trestle, has long been retired. Yet, up until a few years ago, that bridge was still in use. This wooden structure surpassed the 100-year mark. It has since been replaced by a steel and concrete trestle. It's quite interesting the long life-span of the old trestle; it saw all three of this freight trains representing the three last eras, plus older trains as well. In fact, the wood trestle was original to the railroad at completion at the end of the 19th century.

These are all images from the locality in which I was raised.

This reinforces my focus on industrial structures which reside in our landscape. Industrial forms contrasted with nature must be well built in order to withstand the elements. Eventually, the wood decayed to the point that it could no longer support the heavy loads. The steel is subject to rust and will unlikely have a useful life near that of wood.

In thinking about the utilitarian purpose of these structures, there is an inherent beauty and simplicity in the message. It goes deeper however to include such readings as a sorrow for man's interference in the natural landscape, as evidenced by mines and logging when conducted in an unsustainable manner. For me, these forms are dealing with all things that are truly about our existence and things with which we interact. That does not mean they need be dominant; rather, they simply exist and fulfill some kind of purpose. Beyond the utilitarian, they can help us to understand the world in which we reside and the temporal nature of things in contrast to seemingly indestructible materials.

Battle of Branchage - Architectural Projection Mapping

Haines, Alaska

I enjoy some of the simplier things in our landscape, the often overlooked elements such as an old pier. I've been drawn to harbor settings perhaps for this very reason, along with other wooden structures like barns, sheds, and older bridges. There seems to be a quality built into these structures of the past.

Claas Jaguar

Claas Quadrant 3400 Baler

Exploring the Whitepass Alaskan Railway

It shouldn't come as a surprise that this bridge was retired years ago. Not the most stable and far past it's useful life, it stands as a feat of engineering despite its outdated technology. The Whitepass route now bypasses this bridge section, traveling further up the mountainside beyond the canyon where a smaller girder piece was put in place.

Case IH STX 500 Quadtrac world record--my dream machine!

John Deere--when things don't go as planned--hard starting

cutting hay

John Deere 4440--distinctive start-up for this series of tractor

Farming Days

This was me back in 2006 cutting grass fields with a John Deere model 4440. It was originally my grandfather's tractor in his later years of farming. This was a good-running John Deere; it's first overhaul was past the 15,000 hour mark and only occurred after I insisted that I didn't want to mow with a trail of smoke following.

My background living in the country and working in the fields has been an integral part in my art.

Lincoln Logs

Lincoln Logs bring back a lot of memories for me. Growing up, I'd gather scrap lumber from around my family's farm and build structures, a mini barn or fort in a sense.

I would build all kinds of things with my Lincoln Logs, often building industrial-themed structures like piers.

Part of the process of building is being willing to tear-down and start over. There is this aspect of the temporal, an installation that exists differently every time it is set-up.

Working Process

This site is an attempt to document my working process and act as a sketchbook, a place for exploration.

I attended two influential ceramic workshops this summer, both of which focused on the glazing process. This has helped me to approach surfaces in a much more painterly fashion.

Just as I feel a connection between sculpture and painting, my interests also center around architecture. I've brought an image of Frank Lloyd Wright's Fallingwater, one of his most well known architectural accomplishments. There is a beauty in the closeness to nature and in the simple coexistence.

I've always enjoyed building things. Over the years I've enjoyed such things as Lincoln Logs, Legos, model trains, etc. In fact, one of Wright's sons was the inventor of Lincoln Logs. My creative process has been a lifelong pursuit, from a young age constructing various buildings and sets.

I've been thinking more lately about interchangeable units, and in particular Lincoln Logs. With only a handful of standard pieces, an infinite number of structures are possible. It is this kind of exploration and curiosity of the possibilities that I'd like to bring to my work.