ANIMAL MEDICINE SERIES©
Background Information
The concept for this series originated after I had spent 6 weeks traveling throughout the Southwest; a trip inspired by my parents. Over a period of many years, they had spent much time in New Mexico and parts of the Southwest. They had become friends with several Native Americans and maintained many friendships in the area. However, due to my Dad's failing health, they were no longer able to make the drive from their home in Florida to the Southwest. What began as casual conversation evolved into an elaborate plan which involved flying, with my dog Gus, from our home in Maine to join my parents in Florida. Then packing my parents car and gathering their friend (who lived next door ) in addition to their dog, Jake, and heading out on what was to be a great adventure. We were quite an interesting little band as we drove out of Florida heading toward Arizona....three adults aged 70 and older, two dogs, and myself....chief Chauffeur. Our destination was Sedona. We made plans to stay there for a week and were to be joined by my sister from Oregon and some other friends. A great reunion it truly was.
However, for me it was more than just an enjoyable vacation. It was an epiphany. An awakening of all my senses and a spiritual connection that I hadn't ever experienced before. I was totally enamored with the land, the people, the culture, and the art. The beauty of the Southwest took hold of my very being and has remained there to this day.
After the week in Sedona in which we spent every day exploring, the four of us plus two dogs, took to the road again. We headed to New Mexico! We spent time in Albuquerque, Santa Fe, Los Alamos, Taos, Chimayo, and generally criss-crossed the state. We visited a number of pueblo's including the Santa Clara and the San Idlefonso. My parents introduced me to Blue Corn, a well known potter from the San Idlefonso tribe whom they had known for many years. I felt privileged to see some of her beautiful pottery and learn about the ancient methods used to produce such outstanding work. I also met Mary Cain, another accomplished potter from the Santa Clara pueblo.
When I returned home, six weeks later, I was filled with mental images and ideas. I knew I had found the link I had been searching for in my work. I threw myself into extensive research on the connection between animals and man as described in the myths and legends from the different tribes. I was particularly fascinated with the Mimbres tribe, and was drawn to their beautiful unpretentious imagery. This was the beginning of the Animal Medicine Series. I began to design each piece based on this spiritual connection and the attributes given to the animals through the teachings of Native American elders. This series also defined my personal style - not only in design, but in surface treatment techniques.
Technical Information
Dimensions: Platters are 18½ inches in diameter X 2" deep, and Buffalo Sculptures are 20" X 20" X 2½"
Each series is devoted to one animal and is issued in a limited edition of between 10 to 25 pieces. All pieces vary slightly so none are really identical. The designs on the platters and wall sculptures have specific meanings, although some may be very subtle. Some meanings are based on Native American myths and legends, while others are personal observations or metaphors from nature. The center (colored) area on the platters represents the earth plane...the here and now. The outer rim represents the spiritual essence of the particular animal. Arrows, dots, and other geometric embellishments at four intersections on the outer rim mark compass points.
Each piece goes through three to four firings in a kiln at temperatures ranging from 1500ºF to 1150ºF. I use a variety of techniques including sandblasting, silk-screening, laminating, and airbrushing. I also use luster's, micas, gold, and copper. In the first and highest firing, the basic shape and color of the piece is created.....the canvas, so to speak. After the first firing, the sandblasted images which surround the rim of the piece are created. For these images, each design shape and element is hand cut in resist which is placed on the glass and then sandblasted. The center design elements are then hand cut out of glass, placed in position, and the piece is once again fired in the kiln.
In the final firing, the gold or copper is added in areas to highlight the animal and in areas accenting the border design. Each piece is then placed in a stainless steel mold and slumped to it’s final form. They are all signed, dated, and numbered on the back. A log is kept on each piece listing a description, the date it was sold, and through which gallery, or to whom it was sold if that information is provided by the gallery. To assist the viewer in understanding my work, I also write a short poem about each animal and inscribe it on the back. These poems represent my personal view and interpretation of the legends.
Animals represented to date are: Lizard (edition of 20), Turtle (edition of 10 - SOLD OUT), Rabbit (edition of 10 - SOLD OUT), Buffalo (edition of 20 sculptures), Horse (edition of 15 - SOLD OUT), Salmon (edition of 20), Frog (Edition of 20), Quail (edition of 25), Gecko (edition of 25), Raven (edition of 25), and Hummingbird (edition of 25).