SANDS OF TIME – PORTRAIT OF A MENTOR

(C) JOHN FANSMITH 2018

SANDS OF TIME – PORTRAIT OF A MENTOR is a mixed media sculptural piece combining a hand-built, raku-fired ceramic head with a glass tile base.  This piece, for me, evokes the image of an artifact emerging from the sands outside Luxor.  The rest of the title comes from my mentor (and friend) Carol Stirton-Broad, who happened to wear an outfit on the day I was finalizing the design that reflected the pattern, the color and the tone of the tiles I was planning to use for the base.  18″x5.5″x7.5″,

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DARK MOON RISING

(C) JOHN FANSMITH 2017

DARK MOON RISING is a 21” x 21” wall hanging consisting of 26 hand built and smoke fired stoneware tiles. The tiles were smoke fired over a 28 hour period using a mixture of hard and soft wood chips as the firing medium. The title, DARK MOON RISING, reflects my first reaction to the piece after it was completed

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

Compression #4

Compression #5

Compression #4 is an abstract, perhaps conceptual piece which uses geometric shapes, mosaic composition principles and a red/yellow/orange/black palette to evoke the feeling of tension created by the interaction  of pressure and resistance.  While it is numbered, it is a monoprint, a single, unique print.  The numbering refers to the particular image and its coloring.  It is not part of an edition of identical (or almost identical) prints from that plate.  It is a collograph, that is, the printing plate is created by building up the base plate rather than by cutting into it, as in the case of an etching, woodcut or drypoint.  I find that, when exploring conceptual images, the collograph process provides greater adaptability and flexibility.

Compression #4 has just returned home after being exhibited at “The Mosaic Muse,” a juried art show at City Hall in Philadelphia, PA in February and March of this year.

Compression #4 has also been accepted into the “Arizona Aqueous” juried art show at the Tubac Center of the Arts in Tubac, Arizona, which opens January 29, 2016.