Kharon: Light Path Towards Oblivion





This is the first sculpture which completed in the series.

It uses LEDs.

I stopped using LEDs because I decided that the same  effect could be done more naturally without a contrived appliance.





Down Time


The show is now over and we go to pick up our wandering children.

Despite saying “Never Again”, we are both working on yet more art.



Making Alice Large


I had originally intended to paint and attach the paper image to the smaller figure but when I was cutting back the paint, I found that I preferred the distressed figure. The idea of the cutout at the back of the box occurred when I saw the shadow of the original figure. This make both the figure and the cutout ghostly like a memory.


The image above shows the point when I was reconciling the placement of items in the box. I already decided on the color of the “sky” and the grass below it. I knew that I wanted cards on the floor.

The small flower was to be at the top of the grass (as roses). I abandoned this idea as I felt it was going to make the image just too pretty.


At this point, all of the items are resolved. Notice that one card is already flipped. Although this image is after the one before it, it makes logical sense in describing the process. You will notice that the cat was changed to a more realistic one.


The last thing added was the cat smile. This is a painted fingernail. It was the only thing that was flexible enough and yet firm enough to hold the shape.


I would not want to live in a world without cathedrals: Night Train to Lisbon



“I would not like to live in a world without cathedrals. I need their beauty and grandeur. I need their imperious silence. I need it against the witless bellowing of the barracks yard and the witty chatter of the yes-men. I want to hear the rustling of the organ, this deluge of ethereal notes. I need it against the shrill farce of marches.”


Completed 27 November, 2016: Thanksgiving.



Making Alice Small


The above image shows how I decided the length of the inclined plane for the piece. This was decided before placing it in the cigar box.


The image above shows the plane and cigar box inside the larger wine box. At this point, I had decided to use the glass (purely by the accident of placing it in the box to simply support the cigar box). The cigar box does not touch the wine box but is suspended slightly above it to create a tension, being not obvious. The same applies to how the incline extends beyond the edge of the cigar box.