A list of artists included in the show,  select their names linking to more information.

Two of my pieces have been selected to be a part of the Lincoln Center Art Gallery "Insite Insight" from November 20 2014 - January 5 2015, opening reception November 20 5pm - 7pm 

The Lincoln Center Art Gallery’s National Juried Show is Full of Insight

The title for this year’s National Juried Show, “Incite Insight,” was a call to action for artists all around the country. “The call was issued with the idea that artists often challenge us to see the world in new ways, providing insights into our times and our lives. Without limiting the content to a specific theme, Lincoln Center was seeking work that would provoke, inspire, or arouse a deeper understanding or vision of the world,” Gallery Coordinator Jeanne Shoaff explains. Over 250 artists took up this challenge in a big way, sending over 850 images to be considered for “Incite Insight,” the National Juried Show. 

Each year the Lincoln Center invites a special Guest Juror to select the artworks for its National Juried Show. Ivar Zeile, the owner/director of Plus Gallery—one of the top-ranked contemporary art galleries in Denver, is the Guest Juror for this year’s exhibition. The competition was juried blind, meaning that while the juror could see the artwork, he didn’t know who created the work or where the artist lives. He had the daunting task of viewing more than 800 images and selecting less than fifty for inclusion in the show. “This is easily the most competitive call for entries that we’ve hosted at the Lincoln Center,” says Gallery Coordinator Jeanne Shoaff. The thirty-sox artists juried into the exhibit hail from eighteen states, and include fourteen Colorado artists. 

The resulting exhibit is an exciting show that includes an extremely wide range of media, including portrait painting, digital photography, drawing, video, sculpture, interactive art and digital media, fiber arts, poured paint, vinyl sign material, a multi-sensory installation, and more. Guest Juror Ivar Zeile has selected works that touch on many of the regional and global issues of our times such as gun control, gender roles, racism, the environment, women’s rights, and emotional isolation, and to name a few. But central to the exhibition is the notion that art has the power to address and even transform these issues in ways that provoke thought, encourage conversation, and perhaps incite action.

As an artist himself, Mr. Zeile brings a wide open view of the role of the contemporary artist. His involvement with innovative projects (such as “Denver Digerati,” for which he curates digital animation and motion-based art, and the Invisible Museum, a conceptual center for the exchange of creative ideas) places Zeile at the threshold of what’s possible in creative expression.  Mr. Zeile served as a member of the Denver Mayor's Commission for Cultural Affairs from 2006 through 2011 and in the last decade has served as a board member for a variety of art-related groups including PlatteForum, the Denver Art Museum's DAM Contemporaries, RedLine, and the Invisible Museum. Prior to opening Plus Gallery, Zeile has worked independently in film and video alongside a variety of diverse design platforms including graphic, furniture, trade-show, and interpretive museum design.

Exhibition Designer Jack Curfman has the task of corralling the forty artworks and six videos into a cohesive and compelling design that features each work to its greatest advantage. For more than thirty-five years, Mr. Curfman has designed exhibitions at the Lincoln Center as well as other regional museums and galleries including the Denver Art Museum, the Arvada Center, CSU’s Curfman Gallery and Avenir Museum of Design and Merchandising, and the Global Village Museum to name a few.

The Opening Reception and Awards Presentation will be held on Friday, November 20, 5–7 p.m., and is open to the public. Mr. Curfman will be recognized at 5:45 p.m. for over thirty-five years of service designing exhibitions at the Lincoln Center. At 6:00 p.m., Mr. Zeile will present over $2,000 in cash awards for artworks selected by the Guest Juror. The exhibition runs through January 3, 2015.

New work started in the end of October, the machinist is a compilation of ideas about machining, the main image is a micrometer a device which is used to measure between a set distance 0-1 inch  or 1-2 inch for each instrument. The , vernier scale is used to read measurements to .0001" as an example sheet printer paper measures .004"
Other elements are CNC G-code programming examples, technical drawing layout in perspective done in stainless steel. As additional elements are added, there will be more to follow on this work, stay tuned...

Building the standoffs for the stainless steel elements representing the Technical drawings, Cut and TIG weld stops to each of the 24 .1975" diameter stainless steel shafts, then each is tapped 10-24 thread. I chose to make these from bar stock as apposed to using threaded rod, this way the visible portion of the standoffs will be smooth, instead of being threaded the entire way. 

Machinist panel with the line elements mounted creating the wire frame illusion from the  TIG welded stainless steel, with the .500" standoff height. The addition of shadows caused by lighting embellishes the surface with depth. Next image: W 60" x H 37" x D 2" work to date, more to follow.

The concept for the work 'MAC' started by the concerns of street violence, in comparison with the fast food culture.  Both cultures have a grave affect on our society; youth violence numbing the value of our brothers and sisters, dietary habits reprogramming of the metabolism and how humans process nutrients.

I chose the Ingram MAC 11 to represent violence, its iconic square form of the sheet metal formed machine pistol designed in 1964.  

Below is the start of the work: 5052 .100" aluminium sheet is cut, formed and welded to begin the shaping of the relief work.
  

Following image shows machined pins and bushings made from various diameters of solid 6061 aluminium bar stock. The trigger guard has also been is installed.

The gray scale image show the barrel section made from solid 2.5" diameter 6061 aluminium round bar, and its mating front panel section. Also some aluminium metal finishing to refine the TIG welded sections.

Image with model showing scale of the completed MAC 11

Complete MAC 11 on H 48" W 48" black prepared wood panel

MAC relief stored on the wall while work on the wood panel is completed. 

Completed work: MAC

I have had this idea to liberate my Grandfather's (on my dad's side) walker he used until He was 99 years old. Here my Grandfather Louie, and my Aunt are pictured in 1920's in front of the house they moved by horses over two days, two miles to another location across the street where the Navajo Hogan was later built. 

I remember we use to go the nursing home to see Louie, my father made him walk down the hall every day. My Grandfather had gone to the hospital a few years earlier, and when he was in bed for a week with his knees bent, no one though much of it. As it turned out his hamstrings contracted and he could no longer straighten his legs. So my father had him exercise to increase the range of movement in his legs. 
Anyway, I ran across his walker in storage some 34 years later, and decided to put new energy to an object most people think represents a handicap. I saw a TED talk about an English woman Sue Austin  who opened my eyes to how enabling wheel chairs are to those who can not get around without them. She would go diving in the ocean with her wheel chair, to compare SCUBA to the wheel chair. Humans are handicap to stay under water for extended lengths of time without SCUBA equipment, but it has a stigma of being adventurous, unlike the wheel chair, or a walker.

I chose to use a reference to a powerful hero from Texas. The synonym of the name Walker here helps my cause to shed a new light on an object society sees as sad or a burden on a person, whereas it liberates them to get out in the world.

the streamline back drop; to speak of the time the walker was made. 
Pictured below the badge assembled prior to patina work.

This is a study of one of the last images of my father from 2003 taken by Jennifer Horsman. I started the panel in early 2014; when the initial work look more like Marvels 'Thing' from the Fantastic four, I painted over the panel to try another direction.

Lost for direction from May, just yesterday I had an idea to start work on the panel. As you may have guessed from reading about my past, the television business has always been a prominent association with my father, and represents a part of what he introduced to me at a young age; electronics, construction, art, he was never afraid to do anything he tried. Digging old style wells, running a horse pulled scoop under a house (pulled by a military jeep), laying brick (something even today I have yet found a love for.) Anyway, I have placed images that represent his passion for building and making things work.

After the blue was added to he jacket, I promptly removed it with lacquer thinner before it started to set, but now as I look back it was no where as overpowering as it seemed. There is still some blue remaining.
 Presently the work is H 48" W 48"  D 3"

Forming the sheet metal raised sides to the characters, then tack welded.

Completed characters ready for grinding, then patina work. Character height 10"

Characters mounted to panel, after patina work, 

form more information on the show here is a link to The Machine Shop   

The Machine Shop: 4 South Wahsatch COS 80903  http://www.jointhemachine.com/
Facebook links:

Machine Shop sign install

show image Friday OCT 3

                  Friday OCT 3


show image Saturday OCT 4

Dept of Peace an installation in part inspired by James Turell, and his sky space work. The plaster ceiling of the room was removed and re-framed to resemble saw tooth waves, lighting was installed behind each of the two waves to create a gradient light to fill the room. The door was to be a moving painting, with sculpted relief in aluminium. The subject for the moving panel is a variation of the United States Seal , but the eagle and its elements are replaced with a dove, flowers and a ring, which encircles the doves foot, a sign of peace. The rail was designed after steel bar joist, incorporating the roman numerals of the date built. composed of stainless solid square bar. 

This work is designed around a carved brick monolith which is Celtic in style. The monolith was carved by a friend Tom Durham of Pueblo Colorado. The element to be mounted a top the monolith is a version of the power symbol; a favorite of my sons drawings for the last two years. This is tribute to his imagination, and ideas. 

forming the 11 gauge material to the inner and outer circumference of the form.

closer fit final adjustments next before tack welding 

TIG welding of inner and outer circumference complete,

The Power Symbol placed on the monolith prior to cleaning the masonry work. The finish work on welds were only slightly sanded, to leave a carved appearance as this piece is to oxidize naturally, having the material deposited in the brick work below as time ages the entire piece.

Cohiba is a new work from the past two days, it is simply an idea based on coveted brands. This piece has a rough feel from a country rich with character and a intriguing history.
Planishing is used to slightly form the center element, also enriching its surface texture. 
formed steel, on painted wood panel W27" H37" D4.5"

The Celotex panel led to the idea of incorporating charred wood Shou Sugi Ban 焼杉板 as the background panel, below are some samples of the charred wood with metal characters, which led me to use copper paste prior to charring. Other samples with Aluminum samples from the clients selection. 

Gallery of close up images of the charred panel, the copper reminds me of Raku, the delicate nature of the surface reminds me of paint work on copper brass and bronze. Care must be taken to coat the surface to bond the charred surface to the remaining wood surface. 

Attching the Aluminium elements to the charred wood panel. The thickness of the pieces range from 1/16" to 3/4".  Sections with thicknesses of 3/8" and more can be drilled and taped, otherwise threaded aluminium rods must be TIG  welded to the back surface. 

Epilogue:  After attaching all threaded studs to the fire cast aluminium pieces the mounting process of arranging the elements on the completed panel. Mounting points are then transferred and drilled, for each piece, some are layered others are on their own. A nice analogy from the pattern of the completed piece is a representation of the Black Forrest Fire how the fire spread out in different directions, leaving places untouched by its destruction. Completed piece dimensions: W 48" H 96" D 6.5" Sept 2014