With every piece I do I learn something,just a little something. These things add up over time and that is what makes the process so gratifying. On this one I learned that cutting out leaf shapes from tin with greenery printed on it makes the leaves more interesting.
Working on this was an interesting challenge. It looks simple and some might think I just sat down and made it one day. Truth is - it's been going on for months. The main image, an iron was easy, but I wasn't sure what the other two images would be. The teacup seemed right but then what else? A goat? A paper lantern? A pencil? I have 3 more tin toy ironing boards so I'm hoping to make more like this.
Since the background tin is a toy ironing board I wanted the images to look like the ones that are in children's word books from the 50's.
One day I received an email via my website from a woman in South Africa who had started doing tin work. These images are of her art. I'm delighted by these pieces. The tins she uses aren't like any I've ever seen before. She has given be permission to share them here on my blog.They are truly wonderful.
Leave Lynda a comment to let her know what you think.
On a recent airing of Wait, Wait, Don't Tell Me, I was introduced, as well as millions of others, to a gentleman by the name of Jonathan Adler. He was charmingly witty and engaging AND I had no idea who he was. Thanks to Google, I learned about Mr Adler and his husband, Simon Doonan. Apparently they are a power couple in the design world, who knew? Not me. Anyway looking at the interiors Mr. Adler has created in his unique mid-modern style I was inspired to try my hand at creating a re-purposed tin artwork. This is my homage to Jonathan Adler and I thank him for helping me challenge myself. Also my sincere gratitude to Dave Yoas for contributing an essential piece of tin for this piece.
If you are a fan of Dave"s work, like I am, then you know there isn't one photograph that can capture all there is to see in one of his astonishing creations. With a few detail shots hopefully you'll get an idea of all that goes into this piece, but really you must see it in person. Soon you will have a rare opportunity to see this reclusive artist's tin work at the Richmond Art Center, in Richmond, California. Dave is a spotlight artist in this show and will be giving an artist talk as well. Click here for the details. Book your flight now, this show is not to be missed.
Sometimes when working on a tin piece it comes to a screeching halt and it has to sit for awhile. It's like a stew that is better after a night in the fridge. There is more to do on this one but it hasn't come to me quite yet.
The Bay Area is in for a rare treat at the Richmond Art Center in Richmond ,CA. Reclusive Dave Yoas will be exhibiting 6 of his incredible tin artworks during their members show and his work is being spot lighted along with Edyth Bresnahan and Jan Martin. You may have seen photos here but they do not compare to seeing Dave's work up close and personal. Each piece has so many fine details that the camera just can't capture. For information on the up coming show click here. (Incidentally the Richmond Art Center showcased my line drawings in 1972)
These 3 posts are of a recent tin artwork by Dave Yoas, one of my favorite all time tin workers.
This piece is entitled Bearly Dreaming. These are photos Dave took to show the completed artwork in details. You can click on an image to enlarge it so you don't miss anything, there is so much to see.
Fishes, butterflies, a bird and bees. So much attention has been paid to the details, like the red poppy headband to the burning teddy bears.
Imagine just collecting the perfect tins to make this work, that alone is a feat. Not to even mention figuring out the composition and construction. (Here's a photo of Dave and Harriete Estel Berman)
This is what happens when you have two shows happening at the same time and you promise a piece to one venue then decide it needs to go to the other. Frankly I've never had this problem (?) before, I try to schedule shows with months (or a year) between them. The invitation to show at an art museum with only about 6 weeks notice was too good to pass up. What artist doesn't want an art museum line for their resume? The other show was planned for in 2013. As similar as these two pieces are they each feel a little different. I thought it was interesting to see them side by side.
Reception and Artist Talks Thursday April 9th 6-9pm
With sculpture, drawing and painting, Eric Carson, Mark Daughhetee, and Jenny Fillius each work with found mythology to suggest themes of reclamation and devotion in our contemporary world.
Eric Carson uses the format of the mandala [the Hindu/Buddhist ritualistic design that organizes a spiritual experience in visual terms] to symbolically connect the world’s religions to each other, and to comment on the intersection of those beliefs with political and cultural issues. The way these line-based drawings are made—as well as their content—suggests a hybrid of references, from Western cartoons to Hieronymus Bosch to Hindu devotional painting. Carson writes, “These pieces present insight traditions around the world as petals of the same flower, not creeds to divide by or kill for.”
Mark Daughhetee’s Stations series of assemblage sculptures pay homage to old TV shows like Bonanza and The Lawrence Welk Show. Plastic cowboys stand stoically among clumps of hobby shop moss under a peaked roof. The format is reminiscent of compositions from the Renaissance and inspired by roadside memorials, as well as Thai spirit houses. Humor, child-like reverence for TV, and manhood (as defined by old Hollywood) are the main characters. Daughhetee writes, “Like one’s journey through life, each television program, in its turn, occupied center stage for a while and left when the curtain fell for the last time.”
Describing her process, Jenny Fillius writes “Being observant, anything can trigger an idea—an overheard expression, something on the street, an experience, the metal, a broken tin toy; literally anything.” Fillius finds and repurposes decorative sheet metal in the form of broken toys and used tin food containers to make sculptures suggestive of the retablos of Mexican folk art. Since most of the metal Fillius uses appears to have come from one’s childhood, or one’s parent’s childhood, the narratives that ensue are partly-articulated hints that nostalgia has gone awry in some way that we in 2015 are privy to.
"Tin as an artistic medium is fairly unusual even though it has surrounded us for many decades. With the surge in interest in environmental conservation, it is no wonder artists have found their way to contribute by recycling tins into artistic expression.
Each of the artists in this show have their own stories of becoming attracted to tin, discovering their own very personal methods of dealing with a difficult material, and, in the process, developing their own styles. In learning more about these artists, it seems most of them are “obsessed” to some degree with the material. They seem to love the process of searching out tins and collecting them (hoarding?). They see some promising detail or color scheme that resonates with their personal vision, but not sure when or where any particular tin will come into “being” as an artwork.
Tin Art, in the hands of these artists, while already being manufactured with bright graphic images, comes through as a reflection of our cultural and social past, though filtered and projected by each artist’s individual vision. We all have a relationship with tin. As we look closely at these artworks, we will also tend to find our own past buried deep within these works."
- Bill Baran-Mickle, Guest Curator
Exhibit runs until June 7th.
To listen to a podcast interview of Jenny Fillius click here