The Studio

Recent Aluminum Sculptures

 

 

8.Red Swing

UnfurlingBlkgreen Black with Ball RED Magic _gjm7842 _gjm7846 2wall yellow 3 In The Spirit 2014

Circle Series Buttercup        2012

Circle Series Buttercup 2012

Birds23inH space 4 wheel 005 019 028HOW THE SCULPTURES ARE MADE:

REDEFINING FORMS –This series is based on the free flow of experimental pencil drawings.  The work is spontaneously started by freely doodling.  Then I redraw the forms in more detail, and scan them into the computer to  prepare them for a laser or waterjet machine. After the forms are cut out, shapes are refined with a hammer and anvil.  Aluminum is soft enough to make this process possible.  The next step is bending, folding, twisting and turning, sometimes welding and combining sections of additional metal. At this stage I create interactive moving parts. Sometimes the movement is in response to wind, and sometimes the forms are balanced to turn with a slight push.

Next the sculptures are welded and polished, or powder coated in bright colors.

 

Yellow and Blue play

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Green5

Orange Blossom

Flame Red Aluminum 2010 27H x22W x 2ftD

21.Black Form of Magic

28.Fly Away 2ftH x 16 in  W

2yellow leaf

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April 22nd, 2015|Current Sculptures, The Studio|

Press Release: Show opening 5/23/2015

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PRESS RELEASE

 

Memorial Day Weekend:   The Chase Edwards Gallery, located at 2162 Main St., Bridgehampton, NY, will host a special exhibition entitled, “Everlasting Color” featuring sculptor Phyllis Baker Hammond (b1930), and pop-art painter Athos Zacharias (b. 1927), living masters of the Hamptons, as they continue to follow the tradition of what the abstract expressionists cultivated during an explosive movement here in the 1950’s and 1960’s. Zacharias and Hammond where among a fertile circle of colleagues and friends such as Jackson Pollock, Lee Krasner, Willem de Kooning, Elaine de Kooning, and the plethora of contemporary artists who continue to live and work on the East End of Long Island.  This exhibition explores a history in movement through playful light and color of two artist who have lived and worked in the region, contributing to its course through their creativity and aesthetic understanding within.  The opening will be May 23, from 6-9:00pm.

April 22nd, 2015|Current Post, Current Sculptures, The Studio|

Remembering William King

Bill King

Words like “awesome” come to mind when thinking of sculptor William King. I’ll always be grateful for the brief time I had to talk to him the day before he died. What an overwhelming experience. His mind was so clear. He had just turned 90. Of course his main concern was his beloved wife, artist Connie Fox​. For the last three years, he used my studio to cut out some of his metal forms. I am thankful for having had the opportunity to be around his great creative spirit.

March 11th, 2015|Current Post, The Studio|

Aluminum Wall Forms

The wall forms start with scribbled lines or doodling,  rather like a happening, totally unexpected.

Doodles or small drawings are scanned into the computer, converted from a pixel to a vector program, and then cut by laser or waterjet from a piece of 4′ x 8′ aluminum….the sculpture is what’s left after it is cut out, converting from positive to negative space. It has a life of its own.

Colored lighting is added to complete the wall structures. When the room lighting is set correctly, shadows add a new dimension to the work.

 

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"IN AND OUT" with lighting

 

 

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February 25th, 2015|Current Post, The Studio|

My Earliest Memories of Art

UnfurlingBlkThe seeds  were planted early. My first working space was a closet. To my five year old eyes it seemed large. I had a shelf-type table across the back of the closet that I used as a desk. There was an overhead light. I did my first drawings from memory, drawings I thought were terrible and distorted compared to what people really looked like. I abandoned that mode of work, copied comic strips and cartoons.

When I was in second grade mom sent me to oil-painting lessons on Saturdays. The teacher put emphasis on how to copy paintings by making a grid.

My mother sent me with pictures to copy: a photo of my grandfather, someone else’s drawing of a Scottie dog like the one we owned.
I liked to draw small doodles, imagining land contours, ends connecting to the water edges like maps. I made carvings in ivory soap, and figures I built in snow thrilled the neighbors. A pastel drawing of a fish made in 5th grade was stolen by a classmate, which I took as a symbol of success.

In the 6th grade I journeyed to the Boston Museum on Saturdays, by myself, for a drawing class. It was a one hour train ride to Bay Back station, then two subway changes to reach Huntington Avenue. Miles from home, I sat looking at plaster statues of  classical Roman or Greek figures in a huge freezing room. Trying every week to make my pencil replicate what I was seeing, I felt like a speck overwhelmed by the space and scale.