EDEN’S END

(C) JOHN FANSMITH 2017

EDEN’S END, drawing on the Biblical imagery of the Book of Genesis, while appearing to be hammered metal, in fact, consists of four pieces of hand built and raku fired stoneware secured to a piece of split and hand sanded cherry, by wooden dowels and epoxy sculpt. The legs are of various lengths to accommodate the unevenness of the base. 7 ½”H x 19”W x 7”D.

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.

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’.

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

STONEHENGE DECONSTRUCTED: THEORY #1 – WINTER SOLSTICE

(C) JOHN FANSMITH 2017

The STONEHENGE DECONSTRUCTED Series draws from a number of sources: my interest in prehistoric cultures, my own series CRUCIBLES, CAULDRONS and CALDERAS, the work of Alysse Einbender, a marvelous ceramist, and the metal sculptures of Robert Engman, among others. That so much is still unknown, i.e., theoretical, about Stonehenge and the people who built it gives both a difficulty and a wide latitude to doing a deconstructive piece about it. STONEHENGE DECONSTRUCTED: THEORY #1 – WINTER SOLSTICE, the first in the Series, ignores the difficulty and takes full advantage of the latitude. In this piece, the ground is cold, white and hard, but the movement and coloring of the shapes express the joy of the celebration. l Hand built and raku fired paper clay. 7”W/D x 6 ½”.

The Slitherthings: Zeb & Maevis

(C) JOHN FANSMITH 2017

The Slitherthings: Zeb & Maevis are intended to be a pair of small and expressive, but not particularly scary, monstrous creatures. Hand built out of paper clay and Raku fired, they are part of a series of imaginary beings and were not inspired by, or reflective of, anyone or anything, in particular. About 6″H, the width and depth depend on how you position them. $225.00 the pair.

Holy Moly!

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I am pleased to announce that juror Niza Knoll has invited my mixed media sculpture, Moses Warms His Hands, into the “Holy Moly: Religious Commentary in Contemporary Art” Show. Moses Warms His Hands may be seen at the Niza Knoll Gallery, 915 Santa Fe Drive, Denver, CO 80204 from December 16, 2016 until January 28, 2017.