Tag Archives: art

The Temple of My Imperfection

—that moment when you finally realize that all your efforts toward achieving perfection will never be enough.

Seizing the Wabi-sabi

 Wabisabi (侘寂) represents a comprehensive Japanese world view or aesthetic centered on the acceptance of transience and imperfection. -Wikipedia

crProbably wabi-sabi was first named for what happens to pottery subjected to the hellish temperatures in kilns, around 2,000ºF (~1100ºC). During the firing, the intense heat vibrates all the bonds that hold the minerals together until they come apart, and their constituent ions and molecules cruise around in a melted bubbly mixture that resembles lava, an igneous rock.

The kiln cools, and the pottery solidifies. Sometimes a gas bubble in the glaze pops at that moment and a little crater forms. Or maybe the glaze didn’t come out with a uniform color, or part of it dis-adhered from the pot and crawled away. Or the tea bowl sagged into another pot.

Classic wabi sabi, telling the story of a unique and unrepeatable moment of creation, fired and frozen in time.

Such wabi-sabi moments manifest keshiki–the landscape of the clay; these imperfections do not in any way interfere with the functionality of the piece, and it would be enormously wasteful to throw something useful away because of a surface imperfection.

One over Infinity

SphericalCow2I like to think of firing pottery as a sort of ‘backyard metamorphism’ that changes the pottery, essentially a sedimentary rock, into a metamorphic rock.

I have even made the statement publicly, that kilns are science laboratories in which ceramic artists perform experiments in thermodynamics, which is a branch of science that deals with the advanced secrets of the Universe. <Click here for Out of the Periodic Chart and into the Fire>

We have learned a great deal about the behavior of matter through experiments that rudely resemble the actual physical universe, tweaked by precise mathematical equations that ignore much of the almost infinite variation therein. Somehow we get close enough that the pieces fit together in rude sorts of ways.

Potter’s kilns on the other hand, much more closely approach the actual imperfection that brought us all the rocks on Earth. And the universe. With a great deal of faith, you consign your piece to the kiln. The wabi-sabi is impossible to know or quantify. There are no round frictionless cows.

Pray to the gods of fire, electricity, gravity and magnetism, that what comes out resembles the vision in your mind. Let me take a moment to calculate the likelihood of that.

One over infinity.

There’s always some wabi-sabi.

A Wabi Sabi Moment with Georgia O’Keeffe

O'Keeffe-(hands)I grew up looking at O’Keeffe art—being that she lived in New Mexico, where I was born and spent most of my life. I’d seen her paintings in books and posters for years. Standing in front of famous paintings in real life—no photograph holds a candle to that experience. It’s not just the colors being more alive, or that you get the true idea of the size of the painting. You are close, very close to the act of creation.
And once, I stood mesmerized in that very moment, as close to a painting as the cops at the Georgia O’Keeffe Museum in Santa Fe would allow. I could not take my eyes off it: a single paintbrush hair embedded in a stroke of color. I felt as if I was there in that one moment when Georgia O’Keeffe stood before this very canvass. A million brush strokes in her long life of painting…and there’s this one that put in that single, unique moment of exquisite wabi-sabi.

It was breathtaking.

I’m glad she didn’t see the hair; surely she would have plucked it out. I would have, in the name of flawless perfection that is found only as a concept within the part of the human brain that dreams of round frictionless cows.

Imperfection: it’s what makes the world

The Hope Diamond
The Hope Diamond

Not even crystals are perfect; they all have wabi-sabi.

They found this one really big chunk of blue diamond, cut all the wabi-sabi away, until it was perfectly huge. Hugely perfect. They called it the Hope Diamond—hoping for another humongous one like it.

One over infinity. It happens. But it’s all the other instances of imperfection that comprise the whole dang universe. The perfect parts are so few as to barely exist at all.

I’ve never made a perfect pot, never wrote a perfect book, never been a perfect anything. I’ll continue to put it out there, though, as long as I have a heartbeat. I am but a fragment of the whole wabi-sabi universe unfolding.

I just don’t know what else to do with myself.

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Sentience and the Art of Everything

A Guineafowl Pufferfish, Hawaii
A Pufferfish

A recent blog post, And then it was Art, featured a delightful video of a pufferfish creating a work of art in the sand, as if he could somehow visualize what the final piece would look like. That’s what artists do—we create a physical manifestation from an internal vision. Who knew a little fish could do that too? Surely it is not a sign of high intelligence and sentience in humans, but merely an instinctive mating ritual in the pufferfish.

Heretofore, I’ve been guilty of a quite bigoted attitude, you might even say species-ist, against pufferfish everywhere. I have in a most unaware manner, equated art with superior intelligence and sentience, and discounted the very idea that this tiny fish could be either. For most of my life I have bought into that dogma.

Until the pufferfish came into my life.

What if the pufferfish is actually highly intelligent as well as aware?—but how would we know? When the standard of intelligence is set by us, and has everything to do with our anatomy?

So what is sentience, exactly?

Well, the definition evolves over time, but has nothing to do with intelligence…

 

And:

sentience (ˈsɛnʃəns) n.

1. the state or quality of being sentient; awareness

2. sense perception not involving intelligence or mental perception; feeling

 Some say that the ability to plan, visualize, and construct is a sign of sentience. That sounds like architecture, actually. Art and engineering combined if we do it; instinct if another animal does.

Just because we can’t hear it scream…

Sense perception means the ability to feel pain and loneliness. And to suffer. I wonder if there is a living creature anywhere that does not feel pain? Or loneliness. Everything that lives probably feels pain. I’m thinking maybe microbes don’t, but how do I know?  Just because they’re microscopic?  Am I again being species-ist, also known as myopic?
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Moss Rocks!

EcoArt

Maybe art and sentience have nothing whatsoever to do with one another. Consider also the lush green moss gracing a quartz and pretty pink feldspar rock called Orthoclase.  As if the moss was painting on the rock. Can we even consider sentience in a plant?

 

If you take a closer look, past or within the velvety green luscious amazing moss, there’s a few other creatures in the rocks. As it turns out….moss is an allotrope, meaning it’s a primary plant producer upon which the food supply of the entire animal world depends.  Contrary to popular belief, moss does not eat rocks, it attaches to them in order to get water; it’s energy is derived from the sun, as is true of all plants.

BlackCanyonMoss3
Symbionts
So what’s the lighter green stuff? Not moss, not even plants. They’re the rock eaters, the lithotropes, aka lichen—microbes that feed off the chemical compostion of rocks, or whatever they attach to. Lichen form a symbiotic relationship with the moss. Some are pale green, some are yellow, orange, they’re all amazing.
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Crustose Lichen
Are these creatures aware of their artful expression of living; their unique and endless variations of a verse in the great song of the Universe?
Am I?
Are you?

 

 

 

Eco Art

ow.ly/Ed3Uj

Moss Is:

 

http://agillenlifescience.pbworks.com/w/page/34864162/Autotroph

Isn’t

 

http://en.wikipedia.org/wiki/Endolith

The Little Pufferfish Who Could

…build her a castle

Art in the Sand

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Click on image for extraordinary video: Art of the Pufferfish

I am totally charmed. Who knew pufferfish are masters of art and architecture?
The scientific powers that be attribute the whole thing to a mating ritual and the sole purpose of the pufferfish’s activity is to impress a female.
Not me, though.

Mission Accomplished

I am impressed. Thoroughly and completely.

I feel a certain kinship to this pufferfish, who pulls his vision from the sand. I work in clay—rarely if not never do I sketch things out first on paper. It’s not that I cannot draw, it’s that paper is but two dimensional, and clay is three. For me, it’s just easier to ‘draw,’ so to speak, with the clay in the first place.

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Archimedes Flight, 2006, Ceramic sculpture by Mary C Simmons

The pufferfish didn’t draw it all out first either, for obvious reasons. No paper, no writing utensils, no thumbs…just an internal vision that drove his entire body in the performance of art. That’s how I do it too, engrossed in my task and operating from an internal vision that informs my hands to construct the compendium of details that comprise the whole.

Art and Sentience

We humans draw a firm boundary between ourselves and the rest of creation, based on a standard (set by us) of intelligence and sentience, which undergoes periodic redefinition to exclude all of creation except us. Originally defined as the ability to feel and perceive, the definition was expanded to include an ability to suffer. Once we started noticing that all animals have that ability, self-awareness became the defining quality of sentience.

I can’t imagine how the pufferfish created his art without an awareness of himself in his oceanic landscape of water and sand. Why is it that the creation of art is an instinctual mating ritual in the animals, but a sign of sentience and intelligence in us?

satin-bower-bird-nestUntil the pufferfish first maps out his sculpture on paper or via computer graphics, or when the bowerbirds use differential equations to construct their nests, they’ll never even approach us intelligence-wise. Cool that we get to not only set the standard, but keep changing it as well so as to exclude all that is non-human. But why?

I am over-awed and comforted by my kinship with the little pufferfish creating a work of art the same way I do—from an internal vision, using his physical body. I doubt very much, however, that I could create this or any piece of art with my nose. From that perspective, the pufferfish is quite a bit more talented than I am.

 

ANIMAL ARCHITECTURE, book out April 2014 087.jpg
Animal Architecture

 

 

 

 

 

 

 

 

 

 

 

 

 

Custom Book Covers and Interior Formatting by Mary C Simmons

Words of Art

The art on the cover attracts me to a book in the first place. In the absence of eye candy, I am drawn to catchy titles—kind of like at the horse races. I cruise the racing form for the cool names like Mickey Blue Eyes, or Quicksilver. Queen of Swords. Names that inspire me to squander a few bucks on a completely random outcome. But I hardly ever go to the races….a whole other story.

I am also drawn to wine and beer by the art—color and imagery—on the label. A practice that is no doubt every bit as effective as how I choose the horse most likely to win the race. The image is a powerful tool….being worth 10,000 words, they say.new

803707_553f_625x1000Color is worth at least that many words, as it conveys volumes of information and activates emotional responses to the environment. Lots of animals see only the colors of their food in the landscape, but we humans see myriad colors—perhaps because we are omnivores and therefore our food can be of any color.

And, the color of the horse would probably figure into my calculus of who might win the race, if I got to see it first.

I’m into words too—as is evident by this webpage and a published book. I love Art also. Capital A, my whole life, just about (thanks Ma!).

I love it all, do it all. Painting. Pottery. Jewelry. Textiles. Book covers. They’re canvasses, you know. What a perfect place to be…making words of art, and pictures of words.

Indie authors, Indie Covers

The first of my cover designs was for my own book, Corvus Rising — a book about a mysterious island of talking crows who enlist the help of a few humans to save the island from a developer’s bulldozers. It’s a fairly low-tech cover as they go these days, meaning minimal computer graphics. I had a specific vision of the cover that I splashed out into the world, using mostly traditional methods to create imagery in my head: water color, pen and ink drawings.

Since then, I’ve been in the business of making covers for other authors. Following is a list of them. Click on covers and bolded text for more information.

 

As I Recollect… a memoir by huck Gaylord (2017)

I laughed out loud many times as i formatted this book. Author huck Gaylord recounts his life as a horse-logger, Viet Nam war vet, and the decades-long love affair with his wife, Mary.  Find it here: http://www.amazon.com/dp/1542914205

>>>>>>>>>>>>>>

 

Facing Up—a Patient’s Guide to Healing the Face, by Lois Hawk  Todd (2016)

facingup

With truth, humor and compassion, Lois Hawk Todd chronicles the highs and lows of two catastrophic injuries to her face. She tells the story of her arduous journey of healing through multiple surgeries—with some wise words for all of us who walk this Earth, with or without such injury.
The bravest woman I know…

Find Lois’s book here:

https://www.amazon.com/dp/B01LX28O0C/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1

 

Bound for the Western Sea—the Canine Account of the Lewis & Clark Expedition (2016)

Adobe Photoshop PDF

A well-researched story about the Corps of Discovery led by the famed Captain Meriwether Lewis and Second Lieutenant William Clark in the search for the Northwest Passage.
And Meriwether’s loyal, intelligent and sage  Newfoundland hound, Seaman.

Find Laura Lee’s book here:

https://www.amazon.com/Bound-Western-Sea-Account-Expedition/dp/0997349107/ref=sr_1_cc_1?s=aps&ie=UTF8&qid=1483640239&sr=1-1-catcorr&keywords=bound+for+the+western+sea

 

U Got To Have You Some Fun, by Andrew Harkless (2014)

UGottaHaveUSomeFun_PODThis book tells a story about an ordinary man on a cruise, and how the people he met changed his life.

I used a very large amount of imagery in the form of photographs from the author, the editor, and the internet. We were able to find a number of sites where images are really free, giving the author a completely custom cover for a very affordable price.

The people on the ramp are all characters from the book, and the guy with his back to us—that’s none other than Andy Harkless, who sent us this fabulous portrait of his backside. I had to Photoshop him a bit, making him look more like the kind of guy who runs a desk, rather than, how shall we say, a more active man.

Thank heavens for computer graphics and the internet!

They came from everywhere, the passengers of this cruise. These are the random folks in life, the ones you never choose to spend a lot of time with, but who make a lasting impact on your life. Do go on a cruise, or a backpacking trip or a raft trip down the Grand Canyon. You’ll see what we mean.

I say ‘we’ because a custom cover like this one is a group effort that involves the author, the cover designer, and the editor/publisher. Together, we worked to get this book published.

UGotTo_Paperback-Cover-2.12.15And then ‘we’ redesigned U Gotta, as I came to affectionately call this book. The author had always cherished the idea of a painting of a cruise ship…and we delivered.
Find Andrews’s book here:

https://www.amazon.com/Got-Have-Some-Fun-ebook/dp/B00O4EJ1M6

 

L’Orange Fire, by Michael McLarnon (2014)

L'OrangeFireCoverFinal_688A psychological/mystery thriller of a time in the near future, when the city of Los Angeles and Orange County have merged.

The author provided a high quality photograph of an original abstract painting by Gilbert Plante, of Quebec City, Canada. The rich reds and yellows gives a sense of intense flames superimposed over an image of downtown Los Angeles.

Find Michael’s book here:
https://www.amazon.com/dp/B00NADW6OC/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1

 

An Abduction Revelation, by Thomas L. Hay (2012)

Cover6.8_C-Kid1

A story of the Comeback Kid and his trips through time on a flying saucer, where he witnessed the construction of such notable wonders of the human hand and brain: Stonehenge, the monumental statues of Easter Island , the Sphinx, the Great Pyramids of Egypt…

All the elements of a space odyssey.

Find Thomas’s book here:

https://www.amazon.com/dp/B009OMF7FS/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1

 

 



Secret Testimony, by Barbara Ann Payne (2012)

SecretTestimony_POD_Cover.1

An autobiographical story of childhood abuse, suffering, redemption and hope, author Barbara Ann Payne made this book cover as personal as her story. She provided us the photo of herself, and selected the other images for the cover.

Find Barbara’s book here:
https://www.amazon.com/dp/B00HUX9704/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1


 

Corvus Rising, by Mary C Simmons (2013)

CorvusPOD_BookCover

The background is one of my watercolor paintings, and depicts an island under a sunset sky. A flock of crows in open and ink flies above the island, while Charlie the blue-eyed crow (an altered photograph) looks on, perched on a branch of a ghostly tree.

A multi-media event made digital, thanks to Photoshop.

Find my book here:
https://www.amazon.com/dp/B00HDQKRUM/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1

 

The Judas Crow, by Mary C Simmons (2014)

JudasCrowCover2

My eShorty (Kindle) about an injured crow who cannot escape his fate: to lure other crows to their deaths. The cover comprises several altered photos and original ink art drawings of crow silhouettes.

Find it here:
https://www.amazon.com/Judas-Crow-Story-Epic-Betrayal-ebook/dp/B00IELTQ0C

 

 


 

I would love to create a fabulous, affordable Custom Book Cover for you!

Contact me for information and pricing:

TheBookMidwife@gmail.com

My Mother, My Art

Rita
Self Portrait, ~1950, Rita M. Simmons

Thanks to my very creative mother, Rita M. Simmons (1921-2004), my childhood was steeped in a variety of creative enterprises and the permission to make messes. She faced it, back in the 1950’s: creativity is untidy. She even organized a neighborhood puppet-making project in our garage that engaged the children of the whole neighborhood.

She painted. I opt for the third dimension. Far and away from my childhood steeped in the odors of oil paint and turpentine, my mother’s paintings inspired me from the hidden places of memory and imagination. I put my hands in clay and evoke the landscape, the dancer, the flowers that grace the Earth. As she, my mother, did before me, on the flat canvasses of her vision.

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Abstract Landscape, Acrylic, ~1970, Rita M. Simmons; Ceramic Sculpture Cylinders, 2005, Mary C. Simmons

The paintings and ceramic sculptures herein were part of a recent art show at the Church of Art, in Hotchkiss, Colorado.

In 1999, I received a Master of Science degree in geology, which also has exerted a profound influence on my art, both in design inspiration and technique (seeMaking Paint from the Desert Landscape & Bones of Earth, Bones of Clay…)

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Ceramic Sculpture Cylinders, 2005, Mary C. Simmons

I taught geology for 4 years in Indiana, and spent the summers in dry New Mexico, where the Cylinder Series happened, 22 of them, comprised of high-fired stoneware and porcelain.

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Skeletal Cylinders, 2005, Mary C. Simmons

 

 

 

 

 

 

 

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Textured Platter, 2014, Mary C. Simmons

My latest passion in ceramic art: bright, beautiful colors and intricate textures in low-fired earthenware clay.

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Textured Bowls, 2014, Mary C. Simmons

At last, I am painting. Like my mother, who by her example, made my life an open space for art.

Thanks, Mom.

 

 

 

 

Zentangle!

Zentangle1Zentangle, a technique of doodling that requires a steady hand more than anything. And concentration— which somehow makes it relaxing. Really.

That’s why it’s called Zen-tangle. Almost meditative, Zentangle shuts out the world and flatlines the nagging cortisol-producing thoughts that our brains seem to be addicted to like candy. All the while you’re making a piece of art.

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Pick up a pen. Just do it.

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Crows—Inspiring Painters for 15,000 years

I love crows. They inspired me to write a fictional book about them. In doing so, I learned that they are smarter than our species gives them credit for. A lot smarter. They plan dream, love, raise new generations. And they notice us.

But they don’t make art. We do. And we make a lot of it about them.

Though some fear and loathe crows, many of us honor and revere them as intelligent, sentient, creatures; to some of us crows are a source of inspiration. Stroll through my Gallery of Crow Art in its many forms, from famous as well as unknown artists, poets, and writers, living and dead.

Paleolithic Cave Art

Lascaux-Broken
Paleolithic Cave Painting—Lascaux, France
Unknown Artists ~15, 300 B.C.E.

My interpretation of this cave painting: a crow on a perch overlooks a fatal encounter between a human and a big beast. Gored by a spear from this upstart Tool-maker, the beast prepares to impale the naked, hairless human on his horns, while his guts pour out onto the Earth. The crow is waiting for dinner. If it’s not about the Food Chain, it’s just not that important.

Or is it? Many believe the Lascaux cave paintings are star maps of Gemini, Orion, Taurus and Sirius.

lascaux_stars
http://www.timothystephany.com/stone.html

Wheatfield with Crows, Vincent van Gogh, July 1890

800px-A_Vincent_Van_GoghArt historians believe Wheatfield with Crows-painted just weeks before his death-was van Gogh’s last work.

 “Crows interest themselves in everything, and observe everything. The ancients, who lived far more completely than ourselves in and with nature, found it no small profit to follow, in a hundred obscure things where human experience as yet affords no light, the directions of so prudent and sage a bird.”—Jules Michelet, a favorite author of Van Gogh

Woman with Crow, Pablo Picasso, 1904

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Picasso painted Woman with Crow during his Blue Period, at about the same time he moved to Paris. The portrait features Marguerite Luc, whom he knew as Margot kissing and caressing a crow. Margot was the step-daughter of a cafe Picasso frequented.

Georgia O’Keeffe, painted crows too. More than once. She painted Canyon with Crows during the time she lived in Texas and depicts Palo Duro Canyon, whose Permian-aged iron-rich ‘red beds’ became the focal point of the painting. Just before your eyes jump to the crows flying in freedom above the red rocks.

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Canyon with Crows, Georgia O’Keeffe, 1917

After O’Keeffe returned to New York, she painted Lake George with Crows.

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Lake George with Crows, Georgia O’Keeffe, 1921

 

Oil paint, real feather. Wish it were mine.

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Crow Painting (Is it Mine?), Jacqueline McIntyre, 2010

The crow is in the painting, the feather is on our side of the canvas. That’s how my imagination works too. Crows step back and forth between it and the world of physical reality. I find their feathers everywhere…
Another unabashed crow-lover:

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Two Crows, Kristin Fouquet, 2010

Kristin Fouquet’s photograph, Two Crows, graces the cover of Full of Crow – “an independent online literary magazine that publishes poetry, fiction, flash, reviews, interviews, articles, art, photography, and more…”

I could go on. And on and on and on….about the ways and means that crows have inspired our species.  But do go ahead and continue looking…Google ‘crow art’ – 62,400,000 hits.

Landscape Paint and the Chemistry Blues

419px-Johannes_Vermeer_(1632-1675)_-_The_Girl_With_The_Pearl_Earring_(1665)Alchemy reigned at the time Johannes Vermeer painted Girl with a Pearl Earring in 1665. Back in that day, before the Periodic Table of the Elementswhich didn’t show up in until 1869—painters made their own paints from the powders of ground minerals by mixing them with linseed oil.

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Lapis lazuli

The pigment in the blue scarf around the head of the Girl with a Pearl Earring, for instance, was made from lapis lazuli, a beautiful but rather expensive mineral to be grinding to a powder.  Unfortunately, linseed oil made the fabulous blue color of this beautiful mineral a bit cloudy.

Linseed oil did that to most of the mineral powders, but there was no way around that in 1665. The mineral powders would be chalky-looking and would not flow onto the canvas smoothly without being mixed with linseed oil.

Better Living Through Chemistry

The Periodic Table going public in 1869 moved the job of creating paint from artists to the laboratory chemist. These days, few artists mix their own paints, or even know what’s in them. I’m a big fan of chemistry, for without it, there is nothing. No rocks, no clay, no paint. And I wonder how they make vivid yellow as well as intense red paint from the same thing. Not a mineral, but an element from the Periodic Table: Cadmium.

Modern painters can thank French artist, Yves Klein and a few French chemists, who created a rich luscious blue paint that retained the brilliant blue hue by suspension of the dry pigment in a synthetic resin, avoiding the murkiness of linseed oil.

They called it International Klein Blue. Yves Klein used IKB, as this patented pigment is known, to paint Blue Monochrome, part of a series of one-color paintings he had been creating for several years.

BlueMonochrome
Blue Monochrome, Yves Klein, 1961

IKB represented something profound to Klein: le Vide-the Void. Not a vacuum or terrifying darkness, but a void that invokes positive sensations of openness and liberty, a feeling of profound fulfillment beyond the everyday material world. Standing before Klein’s huge canvases of solid blue, many report being enveloped by serene, trance-like feelings.

That’s how the Southwestern desert landscape makes me feel.

the-surreal-rock-formations-were-created-over-thousands-of-years-as-water-and-wind-eroded-the-navajo-sandstone

The iron-stained colors of my native land inspired me to make paint from it, in the old way—grinding the minerals to a powder and mixing them with linseed oil. Perhaps because these paints are made from desert clays (see my previous blog Desert Paintings), linseed oil did not make them murky.

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Crows Across the Sky, Mary C. Simmons, 2010

 

Bones of Earth, Bones of Clay

I’m fascinated by bones…all bones, especially the white bleached remains of the wild creatures picked clean of all flesh, marking the place where they lay down on the Earth and died.

I am not alone….

full-scale-t-rex-built-near-the-seine-river-paris-designboom-01Bones of Metal

French artist Phillipe Pasqua designed and fabricated this full-scale, 21 foot tall Tyrannasauras rex sculpture. Comprising 350 bones of chrome and aluminum, the Lizard King towers over the Seine River in France. (Click here for more…)

Bones of Rock

Speaking of T-Rex, a rare nearly complete fossilized skeleton heads for the Smithsonian as the centerpiece for the new dinosaur hall. <more here…>r-T-REX-SMITHSONIAN-large570

In other bones, Paleontologists recently excavated the fossilized tail of a 72-million year old hadrosaur in the northern desert of Mexico. Discovered by locals, the scientists unburied fifty remarkably well-preserved vertebrae. From these bones, scientists determined the dinosaur suffered from arthritis and tumors (Click here for more…)

DinoBones of Clay

From molten origins of Igneous rocks, whose feldspars undergo weathering and disintegration at Earth surface, forming a variety of clay minerals that, thankfully, blanket much of Earth’s surface.

I too am descendent from Firstborn Earth. I know this clay. It is me.

During one muse-filled summer break from teaching geology, a series of ceramic sculptures, whose central theme of twisted spinal columns sprang to life beneath my hands, telling tales of my own origins, my vertebrate ancestry. My own bones.

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Cylinder Series, #1-22, after the bisque
Summer 2004
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Detail, Cylinder Series, #19
Mary C Simmons

Our evolutionary paths cross, clay and I, in a moment of geologic time-the instant in which I so briefly live. I witness a distant past and participate in this miraculous path of life upon which my hands and this clay chanced to meet.

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Cylinders Series, #23
Mary C Simmons