NATIVE AMERICAN ROCKART ALONG THE CALIFORNIA/ARIZONABORDER by Jessica Joyce Christie
In early January 2014, I was in Yuma, AZ, in the Colorado River Valley consulting with NativeAmericans on the Quechan and Cocopah Reservations. Ancient peoples marked the river valley andframing mountains with numerous petroglyph and geoglyphs sites. I am interested in how indigenouspeople today engage with their land and archaeological sites and in which ways they participate in the globalworld of the twenty-first century, for example, through the sale of arts and crafts. My goal is to produce anew anthropologically shaped Art History which presents new findings derived from new evidence in ascientific sense but also embraces the diverse perspectives of indigenous consultants and their audiencestoday in order to strengthen cultural understandings.
On the Quechan Reservation, I interviewed the elder Barbara Levy. She shared with me that rockartfunctions as indigenous maps of trails through native lands. Today journeys on these trails are undertakenrather in visions and spiritual memories than physically. Barbara spoke of creator giants in the ColoradoRiver Valley evoked in geoglyphs; of mountains and underground volcanoes which are waiting to riseagain; of people turned into stone and when mountains rumble, these stone people move.
On the Cocopah Reservation, I learned about tattoo markings which are formally similar topetroglyph designs and guide the deceased on the trail to the ancient grounds of their ancestors. Culturalanthropologist Jill McCormick took me to geoglyphs sites on Pilot Knob.
These field observations will be combined with others in future articles. My travel was generouslyfunded by a Research and Creative Activity Grant from the College of Fine Arts and Communications –thank you so much !!!
Harmony of the Spheres By Hanna Jubran
The process I use for creating my cast sculptures is done, by directly cutting into sand forms (cubes, hemispheres, and spheres) of resin bonded sand; by carving the interior I cut layers to produce the lattice-like patterns which transforms the simple forms into complex sculptures. My latticework represents the crystallization of nature’s elements and minerals. It represents the process of growth and preserving the natural quality of these materials. The power of these forms in cast iron and cast bronze comes from their existence in nature.
This new series, which attempts to objectify these works, will bring great stride and new momentum to my development/research, and renewed interest in my work nationally and internationally. My interest in the accidental and natural phenomenon and the forces of nature is the driving force behind my sculpture. It has made me particularly receptive to the bronze cast sculpture unlike the iron cast work, which is gray or silver and a visually cooler color. Iron castings do not respond to patina like bronze castings. The addition of varied colored patinas to bronze castings is the most fascinating. The heat transforms the surface, resulting in various colors that affect each other visually and chemically. On one hand, the sculpture may have smooth, polished and reflective parts and on the other, the bronze is left natural from the casting process, showing immediacy with controlled intention. It gives the bronze work a sense of magic vibration.
My goal for this series is not for the process to model old work, but to add to the compilations of my experiences and research as a contemporary artist. I feel the already completed work in cast iron is strong, but does not convey the full impact of the complexity and interrelationships of the elements which I have previously described as being sources for the work. I feel that these works in bronze are the seeds of the first in-depth works that I will realize as a mature artist. By that, I mean they delve deeply into the sources which are entirely my own. Having developed the series this far, I know that the work can develop into major statements on my part.This research was funded by the College of Fine Arts and Communication Research and Creative Activity Grants for 2013- 2014.
Lisa Beth Robinson
I’ve always been interested in the stars. When my brother, David, and I visited the Museum of Jurassic Technology and saw the portrait exhibition,The Lives of Perfect Creatures: Dogs of the Soviet Space Program, I was smitten. I feel the same sense of wonder, marvel, and affection when I am working with Landon and her poems.
This book was produced with support from an East Carolina University College of Fine Arts and Communication Research and Creative Activity Grant. The typefaces are Garamond and Futura. The covers are handmade flax paper made at the Root River Paper Mill by the usual suspects (Caren Heft, Brian Borchardt, Jeff Morin, Lisa Beth Robinson,and Ryan Weisenfeld) as well as new friends. The inside pages are French Paper’s Mod-Tone “Blush”,selected by the author.
Thinking thoughts of Laika and Zvezdochka, mysteryand cognizance, and glimpses of what we are not to know.
The title of the chapbook is SPACESHIP and the poet is Landon Godfrey
Somnambulist Tango Press, 2014.
Homegrown Color Presentation
The purpose of this project was to research and rediscover ways of using local and regional sources and materials in the creation of pigments and coloring agents for creative work. Local and regional waterways and drainages were scouted for potential deposits of colored earth. Once located, a variety of earth pigments were collected, sorted, and prepared for processing into dried pigment.
The procedure for creating pigments involved several steps, including crushing, grinding, sifting, washing, drying, and mixing the material with a medium or binder for application. This involved careful reduction of the "dirt" with a glass muller and glass sheet between which to grind the material to achieve a uniform and smooth consistency.
Once prepared the assorted dry pigments could then be mixed with a medium such as egg tempera, acrylic, gum arabic, and the like. These pigments were then applied in a series of test samples painted using various numbers of coats and transparencies to develop different color effects.
With just a few samples a wide range of color effects was attainable. For example using just nine colors and four coat with both egg tempera and watercolor more than 50 sample colors were made.
Further research for collection of colors, additional processing, and mixing the resulting pigment should yield a wide variety of color possibilities for the artist wishing to use locally sourced materials to create paints and dyes.