Month: March 2016

It’s late. I have promised myself to keep this post short.

I keep saying I will record my ruminations in a journal, make lists, notes, etc. in order not to forget the details of my IMof Collective projects (I have a few already in process). Someone said to me, “why write it down? why not just make that the blog?”

I’m considering how best to make pedestals for exterior installations. I prefer to wait a blog or two before I elaborate on the finer details of this specific project. Today, I am focused on a few technical considerations concerning public art in general. It just so happens that I have currently been constructing pedestals out of plaster-of-paris and acrylic. It is the construction of pedestals that leads me to ask these questions:

1. How well will plaster-of-paris hold up outdoors in humid conditions? Note: I’m no fool. I know its life is limited. It is porous, after all. I also know that if I place a sculpture in the public domain, it is liable to be removed at any moment. So this is what leads me to my second question…
2. How essential is the longevity of self-installed public art? Is it a real consideration? Note: Grad school installed in me a real-life awareness of long-term investment in my work. I try to consider what materials are most practical, and most congruous with their environment. I have considered experimenting with pigmented concrete and done a bit of research into the topic (although I am always open to more input, should you desire to share). Concrete would provide a logical base on which to build New York City shrines. However, working with it means learning a new process, new material expenses, more mess, and on and on. Sigh………we artists aren’t usually renown for our simplicity.

Here is a random online link I found with input on mixing concrete:

http://www.familyhandyman.com/masonry/pouring-concrete/how-to-properly-mix-concrete/view-all

And here is a very informative overview of the history and technique of mixing color into concrete:

http://www.concretenetwork.com/chris_sullivan/colored_concrete.htm

Part of me is saying, “fuck it, stick to your current trajectory and focus on figuring out ways to make plaster more resilient, though not immortal.”

I looked up ways of sealing plaster sculpture and found a couple of forums in which Boat Resin and polyeurethane were recommended (both disgustingly toxic, so far as I know). I may try anyways (with the help of gloves and mask), and see what happens. I am currently casting more pedestals, and once they are dried and coated I will post the results.

It may be awhile before you see those. although I DID happen upon a post describing the process of speed-drying plaster molds in the oven.

Good or bad idea?!

-Aria Doner Tudanger

http://www.ariatelier.net

ariatudanger@gmail.com

Years ago, when I was struck with this idea for an art project, I thought it was all about me. My memory bank, always full, threatened to overwhelm me at unforeseen moments. I was looking for a way to purge myself of the past; honor it, come to terms with it and, in the process create a revelatory present. But wait. I get ahead of myself. Let me explain.

I have always been fascinated by graves, graveyards, etc. They transport me to an indescribable realm linking my past to that of others. Someone once told me to let go of the past and live in the moment. I don’t think I can do that. You see, I love my memories, the good and the bad. They are so much a part of me, and are constantly reborn in my current art-making process.

Have you ever really paid attention to those “In Memory Of..” shrines, often bordering roads? When I see them, I always have to repress the urge to jump out of the car and more closely observe them. They are so powerful and yet so fleeting, marking a time and place, sending a prayer, and inviting others to join the chant.

My original idea was to create my own “In Memory Of…” shrines, marking locations that are significant to me. When I pass by those places I feel a synthesis of emotions; sadness, happiness, longing, gratefulness, joy, peace, to name a few. Despite my move to make public art I was coming primarily from a selfish place. True to my artist identity, I didn’t care. However, I’ve matured over the years, and come to the realization that public art, no matter how intimate, is inevitably about the collective experience. Knowing this I realize that this is not just about me….it is about US!

I no longer want this to be about one person sharing her memories. I want it to be a forum for anyone to express her/his voice, to mark a spot and make it known that this place is honored. Wouldn’t you like the opportunity to share your memories and make a new present moment? I most definitely would love to listen.

This is just the beginning. I’m still hashing out logos, social media websites, all the necessary accoutrements to make this project a group experience. It’s ironic, I know, that all I have so far is a blog. This site was a necessary jumping off point to get off my ass, put things in motion, and begin tracking the process. I promise there is more to come.

Just to give you a taste of the first stage of my “In Memory Of…”projects, posted above is a (way too sunny) shot of my Luberon Valley, France installation. These small clay markers are awaiting their final firing. I actually began them long ago. They have finally come full circle as I prepare to visit Provence this June 2016, the location of my previous beloved home, life, and marriage. They represent aspects of myself in relationships that I grapple with regularly. I’m not yet sure where they will live, but I will be certain to keep you abreast of my decisions.

Welcome to our art project. I am so excited to hear your stories.

We will call this the IMofCollective. Stay tuned for more.

–Aria Doner Tudanger.

ariatudanger@gmail.com.

http://www.ariatelier.net