I’m making a group of 39 drawings about the Heaven’s Gate suicides. They’re going to be 6×9″ oil pictures of their keyhole logo, done in a pastel rainbow spectrum on black.
The piece is going to include a picture of the Hale-Bopp comet made out of fusible beads. For the upcoming faculty show at least, I think the drawings are going to be shown in a pile on the floor, and the bead-picture will be framed on the wall.
So, basically it was that with 2 hours of talking thrown in for good measure. Also this:
Oh, also this photograph of an alligator chewing on a severed human arm (It’s real. You’ve been warned).
Sorry, but y’all are getting a play-by-play on this window’s construction, whether you like it or not. ‘Cause shit’s simply too riveting to keep to myself, obvs.
I think I’m getting into the swing of things, now: all that’s new since yesterday I did in about four hours. It’s a shame I probably won’t have time to get all of the lead cut before I leave for the States (Thanksgiving, Canadians. The real one). Maybe if I really apply myself, but it seems unlikely.
Also, when I call the process “medieval,” I’m really not joking. The tools I’ve got to work with are like Old-assed Yankee Workshop meets The Craft. That handsome thing there is what I use to cut all the lead came, since dykes (that’s what the special tinsnips are called) mangle the wide lead I’m using past the point of no return.
The real setback I’ve been facing has been the lead itself. I need 3/8″ came (I don’t know why it’s called “came,” but it is) to get the look of the window I’m reproducing (this is quite wide, especially for a piece this size—it’s only two feet square), and the one stained glass supply store in town (that I know of, though it is, conveniently, only about three blocks from our house) only carries a lead/zinc alloy in that width. All that means is that the came is super, super hard compared to 100% lead, and cutting it with that stupid little hand tool is not fun.
Also, I’m not doing a terribly good job, so far (chalk it up to a “learning experience”). That gap there? It shouldn’t be there. If I tried to solder that joint, the solder will pull in on itself in a really unattractive way. Conventional wisdom is that I need to re-cut that piece to fit exactly (I probably will for this particular joint, since it’s an easy, straight cut) or cut a tiny piece of came to fill the gap, but I think I can cheat a bit. (It’s worth noting that, if I’ve learned nothing from both renovating the basement at cam’s house and doing this [and, apparently, I haven't] it’s that the reason nobody else has come up with your own particular, genius quick-fix solution is because they have, and it doesn’t work. Like at all). I think that if I copper-foil the exposed areas, I should be able to solder over the gap. Because the came is so rigid, this window is going to be inde-fucking-structable, anyway, so a few weak joints aren’t going to be an issue.
Now wait for that to not work. Like at all.
Give Thanks (2005). See, everything about this seems inevitable to me. Like of course someone needed to take a display box from Value Village, line it with fluorescent stretch-velvet, fill it with neon aquarium gravel, and mount a ten-dollar black light from Spencer’s Gifts overtop of it. And of course it would be a piece “about” Thanksgiving 2005. It all seems so obvious.
Commemorate.
Untitled (Big Sur).
I don’t know what the title for the windows is going to be, yet, but can I just say that lead came stained glass is exceedingly difficult? Like, I want to apologize to all of the other finnicky, medieval processes I’ve used, because this one is the finnickiest and most medieval so far.
And just for the hell of it I crocheted a snowflake and used it as a substrate for growing salt crystals.
Yeah, yeah. I know. First the CUPE signs and now this. Because you just know these are going to get defaced somehow.
Blah blah blah “Is nothing sacred to you?” blah blah. In a word: No. Nothing is sacred to me, and memorializing war and the people who make it is pretty far down on my list of hypothetical candidates. THAT SAID: all of these were either (a) taken in exchange for a [voluntary] donation to the Legion or (b) found discarded or dropped. And I didn’t even take any from the WWI memorial at the Legislature grounds, even though they were just sitting there and nobody was looking*. Because I know how people in this country get about these things (which, P.S., is super-weird to me still).
Anyway. I’m going to cover them all in lead white oil ground and paint them orange.
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* Around the memorial is maybe another story, but whatever. They would have been vacuumed up by the groundskeepers in about 37 seconds if I hadn’t interceded.
Forged documentation of a piece consisting of… forged documentation of a piece. It’s enough to make even me feel dizzy.
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