STONEHENGE DECONSTRUCTED: THEORY #3 – BLOOD SACRIFICE

(C) JOHN FANSMITH 2017

BLOOD SACRIFICE, the third in the STONEHENGE DECONSTRUCTED Series posits a different and darker interpretation than the celebratory themes of the first two, WINTER SOLSTICE and VERNAL EQUINOX, that Stonehenge was not always a place of joyous welcome. In BLOOD SACRIFICE the palette is darker and the shapes curve inward and down. Hand built and raku fired paper clay. 7” W/D x 9”H.

THE GREEN MAN: AUTUMN

(C) JOHN FANSMITH 2017

THE GREEN MAN: AUTUMN marks my return to a favorite topic: the folklore, legends and mythology of the “Green Man”, something I’ve explored in a number of different mediums. This time the medium is paper collage using paper that I hand inked and hand pulled specifically for this piece. Mounted on mat board and matted and framed to 18”x 14”, THE GREEN MAN: AUTUMN is the first on an intended four part “seasonal” series.

MASK #9: THE GOLDEN YEARS

(C) JOHN FANSMITH 2017

When I started the MASK Series the pieces were generic and conceptual, more an investigation into the cultural universality of Masks than an expression of any particular idea; I wasn’t doing commentary, just having some fun with paper clay and Raku. However, things evolve, and the more recent ones, such as MASK #9: THE GOLDEN YEARS, through the facial expressions and palette do try to  say something. Technically, MASK #9: THE GOLDEN YEARS is a mixed media piece combining hand built and raku fired paper clay with glass beads for the eyes. Wall hung, 9” x 7” x 2 ½’.

LINEAR THOUGHTS: TRYING TO FOCUS

(C) 2017 JPHN FANSMITH
LINEAR THOUGHTS: TRYING TO FOCUS is a paper collage created by weaving together two of my hand inked, hand pulled collographic monoprints from the LINEAR THOUGHTS Series. Like REDEYE TO THE COAST and NAVIGATING THE ROUNDABOUTS it is part of my effort to explore the possibility of using my prints in broader ways such as in mixed media and collage pieces. Image: 7” x 9 ½”, Matted and framed to 11” x 14”

TROPHY: THE LAST RED-CRESTED WATCHAMACALLIT

(C) JOHN FANSMITH 2017

I’ve never really understood the “sport” of trophy hunting, particularly when the “trophy” is not something capable of hunting you back. For food or fur, okay, but just for a head to hang on a wall? Having said that, TROPHY: THE LAST RED-CRESTED WATCHAMACALLIT represents my first, and probably last, venture into the art of trophy gathering of endangered species. TROPHY: THE LAST RED-CRESTED WATCHAMACALLIT is a mosaic/mixed media wall hanging composed of glass, hand built paper clay, marbles and MDF. 12”H x 7 ½”W x 10”D

DANCE OF THE PENGUINS: SOLO #11

(C) JOHN FANSMITH 2017

The DANCE OF THE PENGUINS Series originally started out as part of an exploration into using multiple plates printed simultaneously to create a single image. I was (and am) also exploring expanding the use and presentation of my prints, as for example the woven paper piece LINEAR THOUGHTS: TRYING TO FOCUS. After completing that piece, I was curious about what would happen if I wove the paper before printing on it and DANCE OF THE PENGUINS: SOLO #11 was the result, a hand inked, hand pulled collographic monoprint on hand woven paper. Matted and Framed to 18” x  14”

THE SLITHERTHINGS: BILLIE BOB and SALLIE MAE

(C) John Fansmith 2017

BILLIE BOB and SALLIE MAE, a pair of expressive but not particularly scary monstrous creatures, like the others in THE SLITHERTHINGS Series, are not based on anyone or anything in particular, but more the result of free time, idle hands, a small block of clay and a badly warped sense of humor. Hand built and Raku fired paper clay. 5”H x  6 or 7” depending on positioning.