John Dingler, Self-examiner, m/m, 12' x 18" x 7"
In some ways, I regret tackling Diaphanous Geithner, at the time a seemingly easy-to-execute sculpture with clearly-layed out steps ahead, but I was so wrong: The use of unfamiliar materials caused me to agonize over what would have been to a professional fabricator trivial matters. Addressing a temporary personality obsoleted the work after he left public office. I took two years to complete. So I think it's a failure. The pseudo-scale-model now rests in the corner of my studio, with no foreseeable future venue to showcase its narrative.
However, I used materials and techniques I learned to produce the Magical Flying Carpet Landscapes, a series of ten small works whose theme moves away from politics of any sort, addressing something about which puzzles me, so I have difficulty articulating it succinctly. Each of the pieces shows skeletons in a variety of poses performing different genteel behaviours: One is turning a wheel, another swimming, while two examining existence, one examining self, etc. I feel that the skeletons represent fantasy personages or personalities whose deeds can exists only outside of the real world. In addition, that skeletons are dead people further removes them from reality.
So I made these and now am shopping them around, learning how to approach art galleries, focusing on the commercial fine art kind, commercial because they are the most willing and capable to sell them - now my primary goal -- and because of their fine art, vs. decorative art, focus because fine art galleries appreciate serious, meaningful content such as I hope this series is judged. I don't know.
Bryan Allan, Director, California Baptist Art Gallery already rejected them without offering a response. His email address: ballan@calbaptist.edu
I have already thought of the next project, again using the same materials: Bier Series.
However, I used materials and techniques I learned to produce the Magical Flying Carpet Landscapes, a series of ten small works whose theme moves away from politics of any sort, addressing something about which puzzles me, so I have difficulty articulating it succinctly. Each of the pieces shows skeletons in a variety of poses performing different genteel behaviours: One is turning a wheel, another swimming, while two examining existence, one examining self, etc. I feel that the skeletons represent fantasy personages or personalities whose deeds can exists only outside of the real world. In addition, that skeletons are dead people further removes them from reality.
So I made these and now am shopping them around, learning how to approach art galleries, focusing on the commercial fine art kind, commercial because they are the most willing and capable to sell them - now my primary goal -- and because of their fine art, vs. decorative art, focus because fine art galleries appreciate serious, meaningful content such as I hope this series is judged. I don't know.
Bryan Allan, Director, California Baptist Art Gallery already rejected them without offering a response. His email address: ballan@calbaptist.edu
I have already thought of the next project, again using the same materials: Bier Series.
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