Hey Lutherans! Here we stand at the 500th anniversary of the 95 theses! Its time to get your Reformation on. We've collected all our Reformation themed items for you to wear, contemplate, listen to, and read for this special anniversary celebration. Spread the word that God's Word is our great heritage and shall be ours forever!
It started out as a little experiment based on a hunch. I tried to print my wood block on an old tshirt from my bag of painting rags. I wondered how my printing press would handle fabric. I'm thrilled at the results! Now we're fulfilling orders! My son Teddy has learned to print and has been cranking these out with laundry safe ink on a variety of men's and women's sizes.
Interested in wearing or gifting one of these unique, Biblical statements? Get yours at http://www.jjjaspersen.com/prints/not-ashamed-t-shirt-758ea
Koine asked me to develop a visual for their album of Martin Luther hymns. The title, "Cross, Heart, Rose, Sky, Ring" refers to the parts of Martin Luther's Seal. Benj Lawrenz explained that the band wanted to deal with Luther as a fellow artist. The album cover alludes to a materiality and an unresolved concept. It presents the parts of the seal before they had converged in his mind. Luther may not have always been so sure of himself. I can relate to ideas part-formed. While our salvation is sure and finished, the direction of our temporal lives remains mysterious.
There was something meta happening during the making of this piece. Benj said he wanted to get at the idea of Luther trying hard to get something right. He wanted a very tactile quality to the artwork. As I searched for a solution I found myself engaged in exactly that kind of "trying hard to get something right."
Very often we don't see the potential that God sees. Our short-sighted opinion of life might just see a lowly acorn. But God knows that acorn can be majestic that if given the right circumstances and enough time. God the majestic chooses to minister to little people like us. We are his garden, his orchard, his vineyard and he wants us to grow strong and healthy in body, mind, and especially in spirit. So be still your beating heart and know that "I Am" has your future covered.
This project was quite an adventure! I've never attempted a woodblock print this large. Each color was carved from a 24"x24" sheet of baltic birch plywood. To print an edition from blocks this large I would have to work with a press (rather than my usual wooden spoon). I found press time surprisingly difficult to find, used-presses-for-sale equally difficult to find, and new presses difficult to afford. After a good deal of research and contemplation I decided to attempt something difficult. I built my own printing press. To do so, I watched a few relevant YouTube videos, ordered plans, and made my own way. The plans helped, but as a wise man once told me, "The instructions are just one man's opinion." Luckily, I'm patient and willing to fail forward. To my surprise, the press works fairly well. It has some "character" which it shares with every print it makes.
This was the first time I used my plunge router for carving a printing plate. This tool came in handy for removing large amounts of wood and for cutting out the letters. Note: this wasn't a stencil job. I traced the letters (in reverse) onto the plywood and vary carefully watched and moved the router according to those lines. You can see a little human error in the "o" of "for" where the router slipped and grazed the surface. Fine details were carved with chisels.
I decided to switch to Akua soy-based inks for this project. This was another first and I think I'll stick with them. Mixing primaries worked well, they don't dry up in storage, and water clean-up is a big plus.
Speaking of ink, I've never had to ink blocks this large. Necessity mothered another invention and I designed and built a 25" wide ink roller with PVC, plywood, some hardware and a sheet of rubber. Like the press, it works mostly well. Like the press I'm willing to play with irregularities.
The paper has been sitting in my flat files for years. My grandmother, Ikuko, has given me fine handmade Japanese paper over the years. She has stopped making large sumi-e ink paintings and has gradually been giving me supplies. She brought this handmade mulberry paper back with her from Japan years ago. It has a velvety touch, long grain, and holds human gestures from its makers.
Texture seems to be a recurring theme in my work. For this project, I emphasized the wood grain by abrading the wood with a steel brush. I also placed canvas behind the paper to give the tan ink a woven texture. The handmade paper and my slightly wonky press provide a little "growl" to the surface, keeping things from getting too predictable. I like the way this print has a simple design, but complex surfaces. There's clarity if you like that and ambiguity if you like that. Even though printmaking is a process of making multiples, the textural elements of this edition combine to create many "one-of-a-kind" pieces. The prints in this edition are obviously brothers and sisters, but they're not identical twins.
There are two editions. 5 prints were made with a gray background, tan acorn, and dark brown shading. 9 prints were made with a blue background, tan acorn, and reddish brown shading. To get these 14 prints, nearly 100 tests were printed and tweaked to check ink color, carving, pressure, and alignment. I have a big stack of misprints on cheap paper and a few on good paper too.
These 2 editions are available in the "Original Work" section of my shop. Click here to order http://www.jjjaspersen.com/original-work/ This would make a great gift for your church or school, for an office, or your home. We all need reminding that God knows and plans our future for our good. Remember that prints vary and the photos in the shop may not show the actual print you order.
The best print is reserved for the memory of Robert Wiegman who served as a Lutheran grade school principal and teacher for 45 years before the Lord called him home. I never had the pleasure of meeting Robert, but I'm told that this verse was one of his favorites as he guided young people over the years.
Critter encounters have been a theme of my stay at SJU. I've heard loon calls nightly around midnight and a pair of loons calmly swam near me as I watched from shore. A swallow swooped in circular patterns that were nearly tangent to my own wingspan. A turtle worked hard digging a nest. A muskrat swam under the my feet as I stood on the dock. The bullfrogs make sure you hear them. I definitely saw a bald eagle fishing. Speaking of fishing, I printed fish on the dock. Colin and I relocated a bat. I waited for the geese to cross the road. A deer and I shared a moment by the lake. Pelicans slid through the sky. A stray cat trotted by the kiln and a racoon stared me down at the dumpster.
On my way into lunch on Thursday, Richard pointed out a group of guys carrying oranges. He told me that they regularly bowl their oranges down the road to see who can get closest to the wood shop door. ! soooo....
Midway through my final week as a "Jerome Scholar", I found myself sitting still. I can try to force the work, but it doesn't go well. I've learned to allow down time to happen. When I had incubated long enough, I had a very productive end of the week. This organic cycle is what I had been hoping to rediscover. Tea at 10am and 3pm daily schedules time to sit and think, exchange stories and have tasty treats. The stop helped the go.
The last 2 days yielded 7 new sculptures. They happened quickly thanks to some conceptual work I did in my sketchbook in prior weeks and an armature hack from August Rodin. I made an entire bag of clay into a tall cone shape sometime in the middle of the month and set it in the damp room. The concept is that clay can be built over the cone after it firms up a bit. The firm cone holds up the clay AND allows for easy removal by lifting the sculpture straight up. Clever, Rodin, clever. I used the same cone for 6 sculptures on Thursday and Friday. A heat gun sped up drying on the sculptures so I could lift them off faster. I actually saw the heat gun bisque some thin bits of clay...interesting.
The theme of these cone pieces was carrying/riding on shoulders. I explored the significance of the old "piggyback ride" relationship. It turned into something with huge potential. It can serve as a symbol for divine protection/guidance. It can speak about the "upstairs/downstairs" economic relationship. It can be about parenting or mentoring. It can be a picture of education. It can be about "standing on the shoulders of giants" and the benefits of having a foundation that others labored for. For me, it was mostly about being carried and cared for at the St. John's Pottery. At times I felt like an oblivious child and was thankful to have so much support. I enjoyed a fun ride and a majestic view thanks to decades of programming at the pottery and the financial backing of the Jerome Foundation. I was carried by Jerome Hill, the Benedictines, SJU staff, pottery staff, and Richard Bresnahan.
Serenade! At 3:00 tea on my last day at the pottery, we talked about the various musical instruments that various members of the studio could play. As usual, it was a lively conversation full of surprises from talented people. At about 4:32 Brandon strode into my work area with a guitar and said, "I'm gonna serenade ya." Except a break for supper, he played that guitar until 10:30. He was joined by Colin on Native American flute, ceramic ocarina, and improvised percussion. The two harmonized with gusto through Fleetwood Mac, Oasis, Goo Goo Dolls, and Wallflowers favorites. Brandon also had lots of fun putting a folksy twist on Kesha, Macklemore, and Jay-Z. We had even more fun inventing family-friendly edits. I didn't have words to express how much I would miss the pottery so on my last day, I worked like a maniac. I made 7 new sculptures in the last 2 days, but the serenade was a far more eloquent tribute. Joy and sorrow mingled in the air. This was a beautiful month in my life.
I started construction on some stacking figures. A vertical orientation implies those who support and those who benefit from that support. Every expression is a result of the situation that supports it. For example:
My students are a result of their high school. The high school I teach at is a result of the congregations and individuals who support with their prayers and gifts. They support the school because it lines up with their shared Lutheran heritage. The Lutheran belief system is built on a specific understanding of the Bible. The Bible carries the very Word of God. God's Word carries his love. My ministry is to communicate that love to my students...
A work of art is a result of a system of expression such as "Impressionism" or "Jazz". Systems of expression are built on systems of thought or feeling exemplified by ideas such as "Order", "Carpe Deim", or "Git 'er dun". Systems of thought or feeling come from one's basic priorities such as survival, leisure, community, legacy...
If surviving the winter is a real concern, various sequences of thoughts, words, and actions will follow to cope. If community is a priority, there will be corresponding results extending through etiquette, formalities, and networks of acquaintance. If religious faithfulness is one's basic priority, it would not be surprising to see one's studies, activities, writings, and daily speech all affected.
I've been ruminating on this since Richard gave me his printout of the Louis Sullivan quote on basic systems of living. I realize now that I've had a fascination with paradigms for years. I love to think about the assumptions behind thoughts, words, and actions. I guess it's just an extension of the toddler question, "WHY?"
David Kolb's learning cycle has commonalities here. Maybe I'm forcing this, but synthesis is one of my favorite challenges. His cycle of learning proceeds from Experience to Reflection to Conception to Planning (for the next Experience). I see a similar pattern of one thing depending on the previous. The interesting thing with Kolb's cycle is that it leads into further cycles. If this sculpture were to represent the ongoing sequence of one answer leading to more questions, this would grow and grow and grow. For now it's 2 little figures.
As much as I want to start new work in this final week, there are some pieces that need to be processed. I spent the past two days addressing the needs of the two big heads (working titles "Concern" and "Contentment"). These two pieces were initially made on blind impulse. In both cases, I grabbed lots of clay, smacked it together and hewed a face with my palms and thumbs. Now I'm responsible to prepare them for the inevitable trauma of wood kiln firing. I spent much more time on hollowing and reassembly than the actual sculpting. Hollowing the heads was a matter of judging when the clay was stiff enough to stand, but soft enough to carve. That window of opportunity has to stay open for rejoining pieces as well.
"Contentment" surprised me. It turned into my daughter. Then it turned into my elderly daughter as I'll never see her. Plus there are soaring pelicans again. After hollowing out the interior and repairing the seam, I got to surface work. I was surprised that:
- reworking the surface took most of the day,
- I enjoyed it so much,
- there are passages of subtle grace
This is a weird sculpture. It toys with a Japanese formalism (replace those pelicans with cranes and add gold leaf or imagine the whole thing is made of jade) and evokes American Western taste (that smiling old leather face). Is it a new age-ish tribute to mother earth? Oddly, it all feels dangerously close to kitschy "aw shucks, will you look at that" cuteness. At one point this evening I declared, "I'm afraid I may have made a Jeff Koons piece." Then I threw up a little in my mouth and followed up, "but I made this myself so that can't be true." Still, I may not sleep much tonight.
But why? As best as I can tell, I think my daughter is beautiful. But it's not the kind of beauty that is only because she's young. If God will that she lives to be an elderly woman, I see her light continuing to shine. This is more than hope. She's been blessed with a deep generosity and love. I guess that had to come out somehow. So, kitsch or not, there it is. I love you girl.
With sculptures this large, the weight, moisture content, and amount of material to be removed are all greater than my typical clay experience. Recall that this clay is fairly raw from the ground. It has particular characteristics, such as high iron content, up to 20% shrinkage rate, and a strong capillary effect. Water moves from higher clay down to lower clay more freely than I've seen before. Therefore, lower portions can get soft.
This sculpture, "Concern", fell over backwards after standing for over 12 hours. The fall distorted the dimensions and tore the neck apart. I decided to slice it up like bread and deal with pieces individually. Each piece was hollowed and restacked when I judged the base could handle an additional ring. This rearranging of matter took its toll on proportions. The whole thing lists to one side in a nauseating, shifted, almost-rightness. Like when you walk on a floor that's not quite level.
The whole surface has been resculpted several times throughout the process. It has a coating of iron slip to encourage a dark (red, purple, black, blue...) metallic reaction in the kiln.
We all get concerned. I don't intend this to be a portrait of an individual, but rather an expression of a universal experience. Many conflicts seem to stem from a disagreement about what causes us the most concern. Admittedly, I have had world events on my mind and I see us entering into a very different era in world history. Conflict approaches persistently. The slightly tippy, bloated distortion of this sculpture feel just disorienting enough. Tell Bob Ross I just had a happy accident...
I have had some time to wrestle with a new concept. It's a modular piece. It incorporates the Louis Sullivan concept of basic systems of living, David Kolb's learning cycle, generational influence, variation within constraints, repetition, support, lineage, patterns of inquiry, anatomy, and the realities of building terra cotta figures. We'll see if I can pull this together in the next 4 days.
It was a day of surprises.
It's reunuion weekend at SJU. The pottery studio had a constant buzz of tours, tea, and talk today. I met a man who insisted that hope is the last thing I want, compared my work to Camille Claudel's, and insists that time does not exist. He has lived seemingly everywhere and doesn't feel at home anywhere. Another man had problems with flouride and crop tillage, but preferred Jerusalem artichokes to potatoes. He seems to not have moved much. Richard's daughters suddenly appeared in the pottery exuding a sisterly synchronized joy. I found myself at Fishers (legendary local restaurant) celebrating Joe and Sara's birthdays/wedding anniversary. There it was revealed that Garrison Keillor may not be such a nice guy. I also had some amazing sunfish there. Brandon unveiled his mastery of musical hand farting and his obnoxious car alarm. I infiltrated the Johnny/Benny reunion party courtesy of Steven. I learned Raj and Emily have AAA roadside assistance and that I taught their nieces at MVL. Lot's of surprises today.
I did manage to do a bit of work on this "Simul Justus et Peccator" sculpture.
But before all that hit, I had a concise lesson from Richard. His slip decoration for these bottles is masterful. He was happy to let me watch, but emphasized that what he is doing is not a "technique." It's something far more. He talked about putting his whole being into that moment when he applies the slip. What he does in a sweep of his hand has taken decades. To refer to it as a technique and try to replicate it or teach it as such is disrespectful. I take this as another manifestation of Richard's insistence on deep relationships. He believes in deep relationships with materials, with people, with community, with the environment, and with his spirituality. He doesn't abide the trite, disposable, temporary, unfelt, or superficial.
There was a cover band at the reunion party. They were playing 90's hits fairly well. I'll admit I did bust a move or two, but something occurred to me part way through my night as a Johnny impostor. Knowing approximately 3 out of the hundreds of people there afforded me time to try to understand. All 9 members of the cover band seemed to know their instruments well. Songs would melt into each other seamlessly for long, well-rehearsed stretches. So they were good at what they did, but what were they doing? Technique? It's a shallow relationship of nostalgic sound bites and crowd-pleasing prompts. Is this what Richard was warning me about in our slip discussion this morning? This band certainly put a lot of time and energy into preparing and delivering this content. But where were they in all of it? A deep relationship with instrumentation, lyrics, audience interaction were all absent. Audience members engaged in a sort of mob psychology that lacked foundation beyond nostalgia. It amounted to an awkward group aerobics event.
While I did have a good time, it got me thinking about the differences. Where does my art come from? Do I intend for a deep relationship with my audience or my materials? To what extent do I encourage fleeting, superficial encounters? What does it mean that I haven't committed to any one medium? I put a lot of time and energy into my creative work, but to what end? I seem to always be rushing to meet deadlines. I often chase commissions thinking that my way to an art career is somewhere down that road. Am I disconnecting from other parts of my life such as family, faith, teaching? Here's a portion of my application letter for this residency,
Jay's going to work on the world. He's a Political Science major at SJU and splits/stacks wood for the pottery. As an accomplished composer and percussionist he studies music most of the day via headphones. He says Minnesota is fine but he sees a lot of the same race problems he saw back in New Jersey. That's where Poli-Sci comes in...
A few days ago I convinced Jay and a few other humans to spin in an office chair while I took 30-seconds of video. The resulting videos gave me 360-degree reference images that I could play and pause to rotate. Such a quick and painless event for a model and a super useful reference for the artist!
Sculpting a portrait is my home field advantage. I feel like I know what to do when I work a portrait. That plays into my previous discussions about flow state.