This is recent work that is either plank, dowel, stick, or pulp
assembled with brass screws oracrylic medium.
I put metal away for awhile. These new assemblages are innovative and dynamic. New techniques and designs are still held together with brass fasteners. Concieved as puppets several are stringed to devices that help them move.
Two-Dimensional Assemblage 2017-8
The major work is decsribed below in my statement. Included are images of the series that evolved from the scrapes that were left from the first cuttings.
MOTHER and OTHER LINES #2
“Off the Charts” or aka “Clump of Trees”
This assemblage, and indeed the series began when someone gifted me with a packet of navigation charts in California in 1989. We recently had left a “Healing Global Wounds” action at the Nevada Test Site near Mercury, NV. These charts, were, upon closer inspection very interesting to one who studies maps. The odd circumstance in this collection of research, fine lithography and detail on archival paper was that there were 4 identical charts along with the others, On this map was the evidence (no longer on the currently offered chart) that someone thought it was acceptable to dump chemical munitions off the coast of Southern California in the Santa Cruz Basin.
I was stunned at the detailed accuracy of the coastline and the landmarks that guided the sailor off the coast. There were clumps of trees, yellow cliffs, water towers, and more. Most of the offshore areas were also designated as a Pacific Missile Range. These maps had dates of approximately 1960’s(?) and1979 (editions 15 and 22). These I proceeded to cut, tear, colorize and assemble into a series I called “Mother and Other Lines” as a way of justifying continued storage. And so, with the materials on hand I colorized fragments and sections that I believed said something about man-made lines and usages upon the natural lines of landforms, waterlines and contours. That was 1990. In 1991 I revisited the series and assembled two “first-cut” compositions: “Mother and Other Lines #1” & “#2”. Both needed further elaboration.
The fragile assemblage that “Mother and Other Lines #1” was then -- I exhibited anyway in Adler Gallery in 2009. In 2012 I revisited and took the loose assemblage and mounted it within a frame now bonded with acrylic medium, no longer fragile.
The most recent revisitation addressed “Mother and Other Lines #2”. It was 1991 when the elements were placed in proximity and loosely assembled with brass fasteners and dots of rubber cement then rolled up and carried for 30 years. With some further visualization I recently decided to cut, tear and add to the assemblage with three other pieces in the “Mother and Other Lines” series in order to embellish the underlying lines and forms with colorized lines and forms.
Lush islands float above spiral interactions under the seas at fathoms’ depths. Central is the proof that of the unthinking and limited foresight of placing chemical munitions buried at sea. Dangerous substances were dumped in the homes of friendly and edible species off the coast of populated Santa Barbara, California.
I consider this one site the poster-child of all the continuing placements both governmentally and illegally into the environment because beneath the waves make economic sense to both. Beneath the surface became unseen, and storage of unwieldy weapons were diluted and awaited rusted releases. This assemblage is my attempt to create an image that represents all the facilitated disposals of dangerous substances at the behest of authoritative and criminal agencies.
And so, given the message in the maps I determined to make the point visually. I cut, cobbled and pasted until I determined and assembled an image that satisfied, that I thought would attract eyes to the beauty or devil in the details.
The double helix is also a cosmic formation. The cosmic spiral is formed by two interacting filaments each torqued in an electrically charged current and traveling in reverse inclinations. A spiral can be discerned as a formation in a cross-section of a double-helix also known as a Birkland Current. And so -- a spiral is what composes, comprises and connects our universe on a micro and macro scale.
Over the 100+ hours of study, composition, drafts, engineering of presentation, constructing, deconstructing, and final assemblage the piece garnered in my mind several titles. I chose “Off the Charts,” because most of the “dumpings” were just off this chart. This is, indeed, one minor dumping ground under water. It reflects the thinking of the day when detrimentally devastating health effects were disregarded in favor of economically beneficial disappearances of irresponsibly created “munitions”. On land people are still dealing with dumps of radioactive uranium mine tailings. This is another mess bequeathed to the population to absorb and suffer and monitor and pay for thousands of years and generations of children.
My second choice of titles is “Clump of Trees” drawing attention to the 1 square inch the piece focuses. It also contains the phoneme “um”; which is for me, another poem.
2012 Two-Dimensional Assemblage
Lately, I have been working on a series inspired by my interest in the ‘electric universe,‘ specifically, how the ancients used symbols and surmises to communicate for generational understanding of truths. I have been using a cache of prints, artifacts, and ink samples from my father to create these collage/paintings. These months of focus produced dozens of pieces evolving as they do with the possibilities acrylic medium offer -- painting layers of streaks of color with fragments of paper. This is a medium I began to explore in February ’12 and since.
Repurposed Community Painted Papers
This project is comprised of three series that evolved with the repurposing of painted paper. The paper was painted in WestEnd Street School by self and local children. The medium used was water-based tempera paint on heavy paper (supplied by my printer father). There were three events at the Hollins Street outlet that produced volumes of "material."
The first was "The 100-foot Painting" that occurred on the lot next to James McHenry Elementary School. It was sponge painted by dozens of young people splashing carved foam paint imprints on over 350 square feet---very quickly it turned out-- as I remember. All the colors were there and black, too.
The second was "Dots," displayed at the 1st Ad Hoc Arts Festival. This was a series of 6-foot circles painted in tempera. It was a lesson in making circles, and it was a vivid lesson in color theory. If confronted with a color the contrasting color will "appear" when eyes are then closed. The dots were a diameter of six feet and were red, yellow, blue, and green. These became the first of many paintedpaper/brassfastener assemblages.
The third was a series of large applications of paint upon paper using the street school's Christmas tree as the brush. Several very nice applications occurred before it all became brown. I constructed one assemblage approximately 6'x20' entitled "The Point".
I offer a selection of each of the three series: "Primaries"('87 & '13), "Dried Flowers" ('96), and "More Flowers" ('13-'14).
This theme has evolved with me. I continually explore the form. The studies are of series of 100+. The double helix constructions are also a series of 100+. The form continues to engage and inform me with the new knowledge of Birkland currents double helixing in space and the work of plasma physicist Anthony Peratt. My newest compositions are plasmic, too.
I tend to involve others in artful activity: founding/directing/teaching at WestEnd Street School / HollMark Artists’ Cooperative ('83-'87); The Vortex Duck Race in Berkeley Springs, WV (1997); artful anti-nuclear activism; ArtCar Parades at Artscape; ArtCart Walks; ATinCan CanTinA; working in any art room and offering self-expression opportunities in diverse settings.
Much of my own self-expression has consistently been connected with my position to offer opportunities to express and succeed, usually in a classroom. I have taught English and Art many times during my professional career; I am presently certified in both in Maryland. When I taught English I promoted self-expression and self-publication; I was advisor for the school newspaper for more than a few schools and student groups. I have taught in many settings including frequently in the street. I began a storefront: “WestEnd Street School.” in the Hollins Market area of west Baltimore. I did this for 3 1/2 years and with the students began a Memorial Day festival then known as “Art in the Street” precursor to the “SoWeBohemian Festival.”
Photography: Black and White Silver Prints
Black and White Silver_prints
I include this older medium/ project because it was formative and practiced. I began framing my imagery in a camera early on and was able to learn black and white silver printing and to make many prints. I worked with some color; I photographed the 1st Pride of Baltimore and other Baltimore locales. I initiated a cooperative darkroom in the HollMark Artists' Cooperative; many used the facility. I taught a class there. My one-man-show of photography was at the Eubie Blake Center in 1983; most of the images included here are from that series entitled “Leanings.” I continued to collect images on B&W film; there are many images I have only seen as negatives.
I will digitalize these early unseen; and I will print and present somewhere. I, too, digitally capture images these days.
This collection reflects where I was in the medium of silver and light chemistry when I shifted to other metals.
Connect with Jack
Jack's Curated Collection
This artist has not yet created a curated collection.