here(t)here continued:

Beginnings: In Cuts Make You, I introduced prime numbers as a way to structure the series. With the wide open schedule of the residency here at the Lucid Art Foundation, I applied this way to structure a working routine. The vastness of 21 free days in the wilderness of Gordon Onslow Ford land was daunting. (Above: Gordon Onslow Ford,  Present in Company, 1969. Acrylic/Linen, 93 x 140 inches)

So, when in doubt, resort to the prime.  A schedule enveloped:

Oct 20: day 1 Catch Oct 21: day 2 Catch Oct 22: day 3 Catch Oct 23: day 4 Construct Oct 24: day 5 Catch  Oct 25: day 6 Construct Oct 26: day 7 Catch Oct 27: day 8 Construct Oct 28: day 9 Construct  Oct 29: day 10 Construct Oct 30: day 11 Catch Oct 31: day 12 Construct Nov 1: day 13 Catch Nov 2: day 14 Construct Nov 3: day 15 Construct Nov 4: day 16 Construct Nov 5: day 17 Catch Nov 6: day 18 Construct Nov 7: day 19 Catch Nov 8: day 20 Construct Nov 9: day 21 Construct November tenth: departure and return home

And an envelope to be ripped?  And it was!

Thoughts Before about Place:

An exploration of this place as opposed to that place; seeking a particular type of relationship to it that connects to the other.  I returned from Iceland with many impressions and thoughts about the place. What happens to these thoughts in a place close to home?

 

So these are some of the things that happened:                                                                                             At the residency, I  disrupted existing conventional forms to find new shapes using natural &                  temporal elements.

 

1970s Vintage Development Maps of Pt. Reyes Peninsula:  Acquired from Eleanor Murray's collection, I brought them to Inverness to reference the location of the residency.  Not knowing what I would do with them, I first made rough cuts (and secondary cuts)  into each to approximate the shape and sections of the studio.  Then I established a visual line on the walls using masking tape.  Waited. Thoughts about tectonic plates and the fault lines of Iceland and Pt. Reyes directed me. Breaking up the conventional forms of the maps became a side project during the residency while I worked on constructions using book parts and wondering how this exercise will influence my constructions.  I will take the maps home to continue this process and see what happens.

week one: rough cuts of vintage development maps of Pt Reyes vicinity into shapes of studio

week two: studio view

week three

week three: adjacent wall

 Light Studies:  Explored forms using changing light with pen and masking tape.

'catching' light; a compressed history of time

IMG_6517

detail: light study

When Plans are Disrupted:

I found these modular steel cubes in the corner of the studio and wondered what one could use them for.

and then study and photograph each side.

Constructions:

 "Read Red" under construction

"On Watch" series under construction

here(t)here: another residency

 

 

 

 

 

 

 

 

Since May,  I've been away from my blog.  Back this month to report to you some of my summer and fall activities.

 

I'm off to Inverness (on Pt. Reyes peninsula in CA) later this month for another artist residency, this one sponsored by the Lucid Art Foundation.  And this time, intentionally close to home, for three weeks, solo without cell coverage and social media. So no reports during my time away but should have something to share upon my return.  Lots of prepping, finding that I will take more than I take to residencies afar and certainly a way to complicate an experience.

 

directions

 

When I have traveled to residencies somewhere else,  I am often surprised by what I learn about my home. Three years ago in Iceland, I was awed by its raw landscape that had been shaped by volcanoes, glaciers, weather and its location in the Northern Atlantic. There I realized its connection to California--both lands edging the North American tectonic plate with Iceland on one end and California on the other. I wanted devoted time to experience my own landscape with this in mind.  Inverness, though not situated on the North American plate shares the San Andreas fault which separates the No American from the Pacific.  And like Iceland, its land has been shaped by invisible forces of the earth.  At Inverness, I want to further explore this connection.

 

Fig16

P-NAP

 

I am also interested in exploring place--what it holds and what I carry to it. When I applied for this residency,  I wrote, "Using Inverness as a springboard, I will source possibilities for methods and materials from its history, stories and landscape. I will look at the archival remains--rocks and stones that hold the memory of the geologic forces that shaped the physical terrain. I will walk the terrain, feel its relief and make contour lines as I move through space. I will look at the scratches and markings of the rocks as well as their shapes.  I also will be on alert to ways of letting nature and synchronicity enter into my process. These will be my entry points to a 'process conscious' project working with themes of the archival and ephemeral."

"Language, materials and natural energies of and from the place will inform my process. Like the rocks and stones that reflect frozen moments in a changing landscape over time, I will work towards shaping moments and find ways and forms that express the movements 'between'. "

 

 

img005 pic_sanandreasfaultzone_aerial_285x190

 

 

 

A Land of the Verb

Iceland's Geology

Just finished reading Christina Sunley's novel, The Tricking of Freya.  I love her description of Iceland's geology and its effect on California, my home.  "Think of the earth like an egg with its shell cracked. We're standing on one of those cracks. Right here is where the North American Plate meets the Eurasian Plate. Right through the middle of Iceland. And underneath, lava rises up and pushes the two plates apart. That's what causes earthquakes in California. California is on the opposite side of the North American Plate. Iceland is pushing California into the ocean."

I visited one of the rift sites at the end of the Reykjanes Peninsula. Leif the Lucky Bridge marks the boundary between the North American plate to the west, and the Eurasian plate to the east, which are moving apart at a rate of about 2 cm per year.

Another rift valley can be seen at Þingvellir, one of Iceland's most important historical sites, where the Vikings established the world's first democratic partliament, the AlÞing in 930 A.D.

Below are  stones shaped from the forces of the plates.   I took many photos  to inspire new shapes for my constructions when I return.