“There is something rather noble about junk–selected junk–
junk which has in one era performed nobly in function for common man
has by function been formed by the smithy’s hand alone
and without bearings roll or bell
has fulfilled its function, stayed behind,
is not yet relic or antique or precious
which has been seen by the eyes of all men and left for me–
to be found as the cracks in sidewalks
as the grain in wood
as the drops in grass
out of a snow hummock
as the dent in mud from
a bucket of poured storms
as the clouds float and
as beauties come
to be used, for an order
to be arranged
to be now perceived
by new ownership.”
Here is Tong Bird of Paradise #4. This new piece is about 10 feet tall.
We did a test installation a few of days ago. This will be in our Aldrich show, although we hope to make another Tong Bird 18 feet tall.
I like scrap metal–selected scrap metal–because it is different, new, intriguing, available, inexpensive. It refreshes my vocabulary for making artworks. It is nostalgic when scrap, but not so in artwork. One initial element, the tong, then led to making and combining the other 3 elements to construct my Tong Bird of Paradise.
These 3 additional elements are linear and ragged, in contrast with the smooth 3D curves of the tong.
I thoroughly enjoyed the pictures, illustrations, and information about the Tong Bird of Paradise series included in Seeing Around. The photo on the bottom of page 29 is especially intriguing; Buddha appears to be looking on in serene approval, while the fish has an almost excited appearance—as if he’s saying work on me next!
It is difficult to convey how much time-spent-living-with-them goes into these. A year on average, with a lot of pieces and a lot of years overlapping at any one time. I saw a number of pieces in various stages of development while I was there. I think this is the first one to come to fruition that I also witnessed in an early embryonic stage. Wake up, there it is. Eat breakfast, talk with the guys, check in on Graphics Press, walk out to the shop, and there it is. Some time the next day . . . there it is. Three weeks later, maybe we should scale that one up. How’s do these three look relative to each other, against the ground. Against the sky. Let’s wait until it rains. Let’s make a cardboard mockup. Let’s visit the scrap dealer, MoMA, the flea market. There’s this abstract forging of an idea that was not obviously separated from the testing of that idea’s expression in the world.
Outdoor abstract sculptures reside with the land and its residents: trees, grass, flowers, insects, birds, animals. In turn, artworks affect the behavioral space (in the art jargon) of birds and animals that move, play, pose, and interact in a field of artworks.
Walking down to the sculpture field, I saw a hawk perched on the big Tong Bird of Paradise. The hawk patiently waited while I ran back to the studio to get my camera and then posed for about 10 minutes before flying off.
We moved the big (20 feet, 6.1 meters tall) Tong Bird of Paradise to a small valley near our pond.
To check the verticality of big Tong Bird the crane’s wire line is used as a plumb line (which is vertical and goes through the center of the Earth). Here are two images of this method in action:
A week later a hawk perched on the repositioned Tong Bird of Paradise. It is probably (p = .87) the same hawk we saw earlier. The light during the two different photographed visits differed greatly (sunset v. high noon), so we think it is the same hawk, different light.
Just a note re the hawks: the birds in the photos are two different types of hawks. The reddish breast on one looks like a red tailed hawk. The other one has a distinctly differently patterned belly and chest, most likely a red shouldered hawk. Unlikely that they are the same bird, a week apart. There’s Visual Evidence.
Big Tong Bird with a couple of the Millstone pieces:
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Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
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The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
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Two more pieces in the series, Tong Bird #2 and the mobile Tong Bird #3:
They’re all wonderful. Are the tong-halves from birds #1 and #2 both from the same original tool?
It’s nice to see the old and disused transformed into the artful and intriguing.
Yes, #1 and #2 are from the same tong, disassembled.
The original tong was awkward in proportion
but what beautiful lines in the separate elements.
Here’s David Smith on old metal objects:
“There is something rather noble about junk–selected junk–
junk which has in one era performed nobly in function for common man
has by function been formed by the smithy’s hand alone
and without bearings roll or bell
has fulfilled its function, stayed behind,
is not yet relic or antique or precious
which has been seen by the eyes of all men and left for me–
to be found as the cracks in sidewalks
as the grain in wood
as the drops in grass
out of a snow hummock
as the dent in mud from
a bucket of poured storms
as the clouds float and
as beauties come
to be used, for an order
to be arranged
to be now perceived
by new ownership.”
From David Smith by David Smith (1968), p. 152.
Here is Tong Bird of Paradise #4. This new piece is about 10 feet tall.
We did a test installation a few of days ago. This will be in our Aldrich show, although we hope to make another Tong Bird 18 feet tall.
I like scrap metal–selected scrap metal–because it is different, new, intriguing, available, inexpensive. It refreshes my vocabulary for making artworks. It is nostalgic when scrap, but not so in artwork. One initial element, the tong, then led to making and combining the other 3 elements to construct my Tong Bird of Paradise.
These 3 additional elements are linear and ragged, in contrast with the smooth 3D curves of the tong.
I thoroughly enjoyed the pictures, illustrations, and information about the Tong Bird of Paradise series included in Seeing Around. The photo on the bottom of page 29 is especially intriguing; Buddha appears to be looking on in serene approval, while the fish has an almost excited appearance—as if he’s saying work on me next!
It is difficult to convey how much time-spent-living-with-them goes into these. A year on average, with a lot of pieces and a lot of years overlapping at any one time. I saw a number of pieces in various stages of development while I was there. I think this is the first one to come to fruition that I also witnessed in an early embryonic stage. Wake up, there it is. Eat breakfast, talk with the guys, check in on Graphics Press, walk out to the shop, and there it is. Some time the next day . . . there it is. Three weeks later, maybe we should scale that one up. How’s do these three look relative to each other, against the ground. Against the sky. Let’s wait until it rains. Let’s make a cardboard mockup. Let’s visit the scrap dealer, MoMA, the flea market. There’s this abstract forging of an idea that was not obviously separated from the testing of that idea’s expression in the world.
Outdoor abstract sculptures reside with the land and its residents: trees, grass, flowers, insects, birds, animals. In turn, artworks affect the behavioral space (in the art jargon) of birds and animals that move, play, pose, and interact in a field of artworks.
Walking down to the sculpture field, I saw a hawk perched on the big Tong Bird of Paradise. The hawk patiently waited while I ran back to the studio to get my camera and then posed for about 10 minutes before flying off.
We moved the big (20 feet, 6.1 meters tall) Tong Bird of Paradise to a small valley near our pond.
To check the verticality of big Tong Bird the crane’s wire line is used as a plumb line (which is vertical and goes through the center of the Earth). Here are two images of this method in action:
A week later a hawk perched on the repositioned Tong Bird of Paradise. It is probably (p = .87) the same hawk we saw earlier. The light during the two different photographed visits differed greatly (sunset v. high noon), so we think it is the same hawk, different light.
Just a note re the hawks: the birds in the photos are two different types of hawks. The reddish breast on one looks like a red tailed hawk. The other one has a distinctly differently patterned belly and chest, most likely a red shouldered hawk. Unlikely that they are the same bird, a week apart. There’s Visual Evidence.
Yes, you’re right.
Still another hawk, the rare New England “Iron Hawk” (Buteo ferrous), visited the large Tong Bird of Paradise:
Buteo ferrous is a new piece, made from tool steel:
A Bird of Paradise by Pierre-Joseph Redouté:
Bird of Paradise flowers in our studio. Photographs by Andrei Severny.
Big Tong Bird with a couple of the Millstone pieces:
