lichen

Whiterock Conservancy Journal 3

On the ninth day, we visited the farm again (and I took some photos of a few farm animals and the inside of the historic Garst Farmhouse!) because I wanted to wander around the large and relatively clear Garst Home Pond; I brought the underwater camera I purchased for scuba diving with me and hoped to take some cool fish photos! However, I didn’t think this plan through very well, as I wore my normal tick-prevention gear of long pants and sneakers (sprayed thoroughly with Off! Deep Woods repellent), so I didn’t want to wade in if I could help it. Luckily there were a few spots with large enough rocks at the edge where I could get on top of them and then submerge the camera to capture initially flighty but ultimately curious bluegill fish (Lepomis macrochirus)!

We then stopped off for a wardrobe change and I forded the river with the walking stick this time to harvest some more “blue” clay, which made the whole journey much easier! After this, my last two friends departed, and I was on my own for the rest of the residency.

I spent the whole of the tenth day working on the base drawing and then some of the sculptural elements for a mixed media frog relief.

On the eleventh day, I worked on artwork some more as well as investigated the town of Coon Rapids a bit more - I visited the antique store, the bakery/café, and the Mexican restaurant. I also stopped into Adel, IA, to check out Harvey’s Greenhouse as I’d been told they have multiple greenhouses, with one entire one being devoted to cacti and succulents. In the evening, Liz Garst stopped by and we chatted, I showed her my work thus far, and she tried to tell me of a site she thought I might try for red clay… but when my navigational ineptitude was making it clear I’d never be able to check it out based on her verbal instruction, she then took me on a short Gator ride to physically point to the location!

On the twelfth day, I worked on artwork some more.

The thirteenth day brought a thunderstorm! This was welcome in that the area desperately needs rain, but unwelcome in the sense that I had planned to try to go to the potential red clay site but couldn’t given the weather. I also couldn’t bike either! Instead, I continued to work on artwork and during a pause in the rain took a stroll down to the river beach.

On my last full day, I adventured again! In the morning I took the Gator the same route Liz showed me to try out a different site for red clay; the way becomes impassable by UTV at a certain point, so I had to hike the rest of the way without a trail. This meant wading through grass that in some cases was taller than me, and the ground in some areas was still sodden from the rain! I made it though, only to find it was much the same as the other cliff my friends and I had tried. Ah, well; I gave it my best efforts this go-round and perhaps this unfinished business will call for a future residency here again at some point! I worked on artwork in the afternoon, as the daytime temperatures toward the end of this residency were in the mid-90’s, and in the evening, I biked the Steve Garst trail from the Visitor’s Center into Coon Rapids. Along the way, I passed by a pond that had wild river otter in it! I felt blessed, but also a bit frustrated; I was wearing shorts since I was biking and the very tall grasses, nettles, and other plants surrounding the pond made it impossible to photograph through well but were also not pleasant on the skin as I tried to get closer. I also had a height disadvantage! So the best photographic proof I have is pretty Nessie-level in quality, which also means I don’t have good artwork reference imagery, but it was a really cool experience nonetheless.

The following morning, I packed up all of my artwork and belongings, cleaned the place up, finished my entry in the Whiterock River House Journal (a physical guest book), and headed out in the early afternoon! The final photos in this slideshow are of the River House itself.

New Artwork: Synthesis, and Upcoming Invitational Exibition

In late December I was invited to participate in an upcoming exhibition and fundraising support event called The Maskuerade for local art gallery Vangarde Arts which has, as is unfortunately the case with many arts organizations, suffered during the pandemic.

Vangarde Arts has been a great supporter of the arts in Sioux City as well as of Morningside College, so I happily agreed to participate. Vangarde provided each invited artist with a white cotton 3-ply face mask, and asked that each mask be made into a unique artwork. The pieces are then to be auctioned off with the proceeds going to support their organization.

This was more of a challenge than I think many viewers might realize for several reasons:

  • The substrate (the face mask) is rather small and of a defined form already, so there’s limited room to work.

  • As an artist, I think you want to embrace the media you’re working with - so making it unrecognizable as a face mask to me ends up defeating the purpose of the challenge.

  • While I think one could pretty easily paint on a cotton mask as a canvas, I question whether viewers will easily differentiate an original painting from an existing fabric print. This meant I felt I needed to get somewhat sculptural while still embracing the substrate and its intended function in order to really make it transform identifiably into an original artwork.

  • I didn’t want to lose my own artistic focus and hand - I wanted to make this piece work within my oeuvre rather than existing outside of it.

I mentally wrestled for weeks just in trying to develop a concept, and then with only a vague starting point in mind I then physically wrestled with the mask itself for a couple weeks to try to see if that manipulation would inspire me to come up with an artistic solution. Finally all the reflection and experimentation paid off, and with an idea in mind all I then had to do was execute it!

This is Synthesis, a wearable mixed media artwork including a white cotton mask, thread, acrylic, gel, Cladonia rangiferina “reindeer lichen,” Tillandsia usneoides “Spanish moss,” pine needles, and bark. Its dimensions are 7x13x4.5”.

Synthesis, a wearable mixed media artwork including a white cotton mask, thread, acrylic, gel, Cladonia rangiferina, Tillandsia usneoides, pine needles, and bark; 7x13x4.5”, Shelby Prindaville, 2021.

The Maskuerade exhibition will have open house hours on February 11, 12, and 18 from 6-7pm in Vangarde Arts which is located at 416 Pierce St, Sioux City, IA 51101. An online auction will be open from February 15-18, and a silent auction and Fat Tuesday on Friday celebration will be held February 19 at 6pm with a live auction following at 7pm.

Cerdeira Village Residency Journal 3 - New Artwork!

When I woke up for my first morning in Cerdeira Village, I was still a little tired and quite sneezy - I thought I would escape from my Kansas allergies but there are apparently still plenty of plants I'm allergic to in Portugal!  I soon shook it off, though, and Julia and I made breakfast and started to get to know each other.  Next I went to set up my studio space; the atelier is downstairs and next door from the residency housing.  I took over two small pottery tables and a bigger workshop table and began working on my first piece.  

When I proposed my project for this very competitive residency, I took note of how ceramics-oriented the website was and my proposal was to make some fully 3D pieces out of QCC since of late I've been doing only relief work with QCC.  For my first sculpture, I decided I would create a slider turtle with branches growing atop its back supporting a nest.  I picked a turtle for a few reasons - 1) I'd sculpted two turtles a few years ago out of QCC but never felt I fully resolved their form and wanted to improve upon that work; 2) there is a multicultural myth that the world is supported on the back of a great turtle; 3) I hadn't seen very many animals in Portugal yet given that I'd only been there a couple days, but I had seen at least two different species of slider (red-eared and yellow-bellied) at the Estufa Fria in Lisbon.

I started the sculpture by carving a rough approximation of the shell out of styrofoam.  This was mostly to save on clay usage - I can only carry one bucket of it at a time due to the size and weight it occupies in my luggage, so I want to be smart in how I use it up - but also helps with the weight of the piece, which is important because I will have to ship my artworks back to the US and weight sharply increases the shipping costs.

Then I applied QCC in a relatively thin layer around the styrofoam and began to shape and detail it (hacking out bits of styrofoam as well if I needed to).  The shell took a lot longer than I thought it would to really shape properly; I did not finish it the first day.

I continued work the second and third days on the turtle.  After finally detailing the shell, I moved on to the head and feet.  I did them all separately so I could be very considered in my markmaking, and finally I assembled all the pieces and added a tail and other final detailing by the end of the third day.  I had planned to make the branches and nest out of the QCC as well, but I became enchanted by the local lichens that grow on the trees here and ended up pushing real branches into the turtle's back before curing the whole piece.

 Afterwards, I did add a nest and two eggs made out of QCC into the branches.

On the fourth and fifth days, I painted the turtle, nest, and eggs white.  I had got it into my head to reference the azulejos tiles so common to Portugal in the painting of the sculpture; the starting point was turning the natural light tan of the clay the bright white of the glazed tiles.  I had only brought one type of paint with me - my Golden OPEN Acrylics - which are great for normal painting needs but are really poor as a base coat due to their long dry time.  Here in Cerdeira Village, they seem to dry even slower - in fact, barely at all - and I ended up just going ahead and painting the turtle shell with an azulejos-inspired, painted-turtle-shell-based design on the sixth day here despite the shell still being faintly wet.  I also painted the eggs with a small decorative motif seen in the corners of some azulejos tiles.  The turtle and eggs took almost a week to dry, but aided by my eventual realization that I needed to put them outside in the sun to assist, they were handle-able by the time I needed to install them in their exhibition space the morning of June 2.

So here's the piece!  I haven't measured it yet, nor titled it (I've got some ideas mulling), but that will come.  It is a mixed media ceramic sculpture including 3P QuickCure Clay, acrylic, and found branches and lichens.

La Maison Verte - Artwork 5

Here's my fifth piece!  It's 3P Quick Cure Clay and acrylic on a 8x6" birch panel.  It features one of two indistinguishable (apart from dissection) species - either Arion ater, the black slug, or Arion rufus, the red slug - enjoying one of the many rainy days we've had here in France.  I'm titling it As Right as Rain.