Arch Art, Qu’est-ce que c’est?
When in doubt, speak French, I’ve always said. And as a mid-life change, for me the work of Arch Art is hard to explain.
I’ve carried around a lot of art projects ideas for many years, but except for occasionally, I didn’t do much with these concepts for many years. Finally, in 1997, partly as an antidote to 60 hours weeks as a magazine editor-in-chief, I hooked up with Mudflat and got my hands back into clay.
From the start, I was making ceramic arches with the goal of making wood and ceramic things that, for lack of a better term, I still tend to call “art lamps.” Working from rough sketches, I made the arches first, and then figured out the rest of a piece. The activity was in large part a matter of solving spatial relations problems, as well as figuring out techniques. Fortunately, I had some experience working with wood, both as a carpenter in my earlier years, and as a house renovator for our home in Cambridge, to the extent that all exterior and interior walls (except for one wall in the living room) are new, down to studs, wiring, etc. Don’t get me started talking about my latest home renovation project, now mostly complete, here in Housatonic, Massachusetts.
In 1999, I got a studio space in Somerville, a 15-minute walk from my house in Cambridge, and began working more and more on the art, at least when the lack or slowness of my professional contracts allowed. My efforts now focus more on assemblage constructions—yes, I think of Joseph Cornell as a god—even while I continue to explore the mixing of utility and aesthetic. I often feel like a Ginzu Knife commercial when talking about my art work. I can almost hear myself say, “…But wait! There’s more! It’s also a lamp! Now how much would you pay?!”
And, of course, Arch Art is an experiment in the commerce side of art. Got an opinion? Let me know.
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