Meeting LA MOCA

Meeting  LA MOCA

A first-time visit to LAMOCA Grand Avenue yields treasure, magic, and happy surprises.  Who knew downtown could be so fun?

Nancy Rubins, American sculptor and installation artist, is handily represented outside.

A meditative room offering communion with Robert Rauschenberg and Jasper Johns.

One of my faves, a Louise Nevelson sculpture silhouetted before a Jackson Pollack painting.

My fave man in black, silhouetted in front of meditative  Mark Rothkos.

Currently shown: Urs Fischer…welcome to his/our (?) world.

A show spread across the two downtown MOCA locations, and several galleries of MOCA Grand Avenue.

Culture disintegrates in a fascinating and visceral way…and its skeletons are revealed.

Beyond patina.

He has caught something…we have all felt like that,

and this.

Let’s hope this isn’t the sum total of the current  zeitgeist.

Here’s looking at you, kid.  Outside…playing with our perception of perception, perhaps.

Time for some lemonade, at Lemonade MOCA.

Check it out!!!

You just…never know.

Something might speak to You…and you… might speak back.

Gamble Amble: The “Deets”

 Gamble Amble: The “Deets”
The architectural brethren team of Greene and Greene, created (with the expertise of many) The Gamble  House, a  magnificent Arts and Crafts masterpiece in Pasadena, Ca,  It is also  a National Historic Landmark and museum.  The Greenes designed the house in 1908, for the Gamble family, of Proctor and Gamble fame.

Let’s amble by some of the Gamble’s captivating details.

Hang the verdigris lantern…hows this for a house number?

More lantern: repetition of forms creates integration and harmony.

One of my favorite “deets”…. coppery patina against weathered wood.

A window on, and of, wood…

Or, two. Resonant shapes, frames and symmetry.

These doors give context to the lantern, and are beautifully balanced compositions unto themselves.

And…these! Showing off the Greenes’ use of articulated joinery, and iridescent glass which changes color throughout the day.

Sheltering eaves, metal patina, lantern, exposed timbers, articulated joinery, shingles…a marvelous makers’ tableau.

Variegated Verdigris…the age of patina on a drain pipe, against the eaves.

On the Ground: pavers tile  to brick to wood.  They all work together, providing interest, harmony and texture, a melodious materials medley.

Up above: a celebration of wood and  exposed structural timbers in a range of hues that work together, and blend with the surrounding landscape.

Do you love the above? Watch this!  http://www.finewoodworking.com/PlansAndProjects/PlansAndProjectsArticle.aspx?id=27096 and, this!  http://www.youtube.com/user/WNEDTV#p/c/4/Un1derJy54U

What captivates YOU about The Gamble House, or other Arts and Crafts architecture You have seen?

If you so choose, please share about it with us here.  We love to hear from You.

Remember, we are all ambling and gambling our way through this thing called Life, together. Happy Trails!

An Amble Around the Gamble

An Amble Around the Gamble

The architectural brethren team of Greene and Greene, created (with the expertise of many) The Gamble  House, a  magnificent Arts and Crafts masterpiece in Pasadena, Ca,  It is also  a National Historic Landmark and museum.  The Greenes designed the house in 1908, for the Gamble family, of Proctor and Gamble fame.

Hallmarks of the  Arts and Crafts Movement in American Craftsman style architecture include the use of natural materials, attention to detail, aesthetics, and craftsmanship.

The Greenes, brothers Charles Sumner Greene and Henry Mather Greene, were influenced by  traditional Japanese aesthetics, though they never, as we were told, visited Japan.   Outdoor  and indoor space were considered of equal importance in the design, as the Greenes used nature as a guide.

Relief and shelter from the hot sun of Southern California climes were created through wide, overhanging eaves.

The use of wood seems to be celebrated through the design, as well as the juxtaposition of textures, earthy, natural colors, and the finishes and hues of stone, metals, glass and patina, all reflecting the expression and experience of nature, the passing of time, and even planned imperfections,  which were part of the architectural and design philosophy.

Exterior porches  such as the one below are found off three of the second-floor bedrooms and were used for sleeping or entertaining. This one was used by the sons of David and Mary Gamble, as told to us by our amiable  and hardworking guide, who was entrusted with taking us through the entire first floor, and front exterior of the house in 20 minutes!  I think she stretched it to 1/2 hour, but she did it!

We will continue our “Amble Around the Gamble” series in the next post, with a focus  on some of  the wondrous exterior details of The Gamble House.  Hopefully, with a longer time next in Pasadena, I will be able to celebrate the interior of the house, right here on “Artissima, blog of ArtiFactory Studio“. Ciao for now!

Have You ever visited The Gamble House, seen the work of Greene and Greene, or other Arts and Crafts buildings?

If so, please share about it with us here.  We love to hear from You.

Remember, we are all ambling and gambling our way through this thing called Life, together.  Happy Trails!

Real Verdigris

Real Verdigris

Having recently written about verdigris, and the art of creating its look as a faux finisher and decorative artist, I was attuned to a variety of naturally occurring verdigris surfaces I saw all over beautiful Balboa Park, on a recent trip to sunny San Diego.  Such beautiful texture, hue, and depth of surface,  to say nothing of the sense of history, and paradoxically, timelessness, that the oxidation process produces…or, shall we say, creates.

Here are some Varieties of Verdigris for your viewing pleasure:

Remember, verdigris is  the natural patina which forms on the surface of  copper, bronze, or brass as it is exposed to air and water, wind and weather over time.  In essence, it is the weathering, or tarnishing of these metals, and shows itself in a variety of green hues. The verdigris above was produced by the slow tarnish of the bronze equine sculpture seen at top, galloping  into a cloud-studded sky. The green-hued substance has, over time, formed on the bronze surface, and dripped onto the stone base of the statue, lending it an air of age, mystery and grandeur.

Above, the powdery residue of verdigris has formed predominantly at the base of this bronze sculpture.  For the scientifically-minded, verdigris is a “complex chemical mixture of compounds, complexes and water, with  primary components of copper salts of acetate, carbonate, chloride, formate, hydroxide and sulfate.  Secondary components include metallic salts, acids, organic and mineral.“

A soft patina of blueish verdigris is forming over the bronze surface of this Barbara Hepworth sculpture, further texturing its surface, and adding visual depth. The addition of the natural blueish-green pigmentation also ties the piece into the landscape of the sculpture garden where it resides.  Living outside really does help that verdigris process along!

The same could be said of this wall relief.  Perhaps the verdigris process is moving more slowly here because this piece is somewhat sheltered by the pavilion style open-air cafe  where it is installed.

The heavily verdigrised sculpture rising out of the cafe’s pool provides a perch for a brightly-hued visitor.  Here both the elements of air and water are definitely at play in creating the strong verdigris hues.  Both the surrounding chairs and the duck’s feet add a complementary pop of color to the scene.

This fellow just seemed so comfortable on its verdigris perch.   Its green head feathers, the blue pool, and saturated verdigris coloration come together to create a scene of both harmony and humor. The feeling is peaceful, yet alert, as we know the duck could take flight and vanish from the picture at any moment.  While watching this beauty, my friend Janet said, “I am communing with the duck”.  I hope, through this post, you can, too!

Have you seen a beautiful, or timeless verdigris surface on one of  your daily jaunts lately?

If you feel so inspired, share it with us here.  We love to hear from you.

Remember, we are all communing with this thing called Life, together.

Happy Verdigris!

 

 

 

Varieties of Verdigris

Varieties of Verdigris

The word “verdigris” comes from the Middle English vertegrez, from the Old French verte grez, an alteration of vert-de-Grèce, or “green of Greece”.  The modern French spelling  is vert-de-gris. What a  romantic and poetic linguistic lineage.
Verdigris is  the natural patina which forms on the surface of  copper, bronze, or brass as it is exposed to air and water, wind and weather over time.  In essence, it is the weathering, or tarnishing of these metals, and shows itself in a variety of green hues.  As a faux finisher, and decorative painter, the “look” can be achieved through the controlled (or not) application of chemicals to these metals, which form a blueish green “deposit’, or pigment.   Indeed, verdigris was used as a pigment to create greens in paintings and other art objects.  Until the 19th century, verdigris was the most vibrant green pigment (paint colorant) available.  It’s earliest known use was in the 14th Century.

The other way of creating a verdigris finish. i.e., the look of verdigris, is by the simple or not so simple, application of green and other-hued paints manipulated over a base coat. This method, to my way of thinking, is by far the more fun, as  a virtual universe of verdigris can be created.  The effect of painted verdigris is by and large controllable, a claim which cannot always be made for chemical reactions.

The vibrant, yet natural-looking verdigris finish above and below  was created by manipulating one custom-mixed hue of green over an exterior latex base coat: Benjamin Moore’s “Pueblo Brown 2102-30”.  The “verdigris” color is one part Benjamin Moore “Pear Green 2028-40” and three parts “Blue Spa 2052-40 “, drybrushed over a completely dry surface.

The verdigris color is wiped off is some areas, leaving a strie effect, and accentuating the texture of the base coated metal.  The surface textures, shifts of plane, and interplay between base and top colors offer enough variety to make the treatment visually interesting, and believable enough for passers-by to comment on the “copper“!

A verdigris treatment is often associated with copper, but as discussed above, also works with both bronze and brass.  On the door above and below, the client wanted a loose  (“messy” as she termed it!) look, that nonetheless complimented the charming building, and worked with the teal shutters and trim detail.  As the kick plate, address numbers, door knob, and mailboxes are a bronze hue, (as well as details of the light fixture), Benjamin Moore “Aged Bronze 231” was used as a base coat, with three blue to green hues dry-brushed over it to create the effect.

The bright golden-bronze hue provides a nice contrast to the cooler yet still warm greenish-blue flat exterior latex paints layered and manipulated over the darker base.  The textures  as well as the colors had to work in tandem to create a complete, coherent picture, “messiness’ not withstanding!

 

 

 

 

 

 

 

 

The rails above were base painted in a deep blackish green, Benjamin Moore “Black Forest Green (Exterior ready-made)” latex, then four more colors were applied consecutively over  the base painted surface. First, the coppery-toned Benjamin Moore “Suntan Bronze 1217” was dry-brushed sparingly, then “Cypress Green 509”, followed by “Garden Oasis 699” were stippled,. (All Benjamin Moore exterior latex colors.) Finally, a touch of the custom “Blue Spa 2018-40” and “Pear Green 2052-40” mix mentioned above was added as a subtle accent. The application and layering of five colors in total adds depth and detail to the final finish.

As the balcony railings are partially obscured by trees, and the Clients were less concerned about their appearance,  we opted to use only the two softer greens, “Cypress Green – 509” followed by “Garden Oasis 699” stippled over the same ready-made “Forest Green” base coat.  Because three of the five colors in the steps railings are the same, the color impression looks the same from a distance, an effect we wanted to achieve.

It’s interesting that verdigris, an actual effect of tarnishing and oxidation processes, can result is such  vivid green, teal, and even turquoise colors, as well as beautiful, variegated textures and patina.  It begs the issue of the value, aesthetic or otherwise, of antiquing, aging, even decay.  For what better purpose can we create art, decor and deign, then to both uplift, and deepen the human spirit by raising questions  of beauty and mortality, and the possible connections between the two?

What effect, finish, treatment or application, verdigris or otherwise has touched you with its beauty or other wise lately?  What has caused you to contemplate aesthetics…or, life’s big questions?  How about the relationship between the two?

If you feel so inspired, please share it with us here.  We love to hear from you.  Remember, we are all traveling through this thing called Life, together. Here’s to beauty…in all it’s forms.

 

Color Me Eclectic

Color Me Eclectic

On a recent sunny and magnificent day, I took a ride South, then West, first to see a Client, then to return to my studio in the western part of the City.

Little did I know what house color adventures awaited me during this relatively short excursion.  From  the middle class, to the well-to-do, to the downright funky,  the inhabitants of this variegated city never cease to amaze with their use of imaginative, and I must assume, highly personal  combinations and placement of color on their dwellings.

Here is a bit of my colorful, and oddly poetic romp, from the edge of nicely heeled Monterey Heights, to the Pacific reaches of the Sunset District’s outer Avenues.

Pale green and pinky red: not exactly Christmas

Across the street and down the road from my Client, who has resided in the same earthy gold stucco home for at least three decades, in a neighborhood of many more stucco. earth-toned  houses, I saw the above brightly hued structure, nearly vibrating in its complementary red and green intensity.  I noticed it also, because I expected to see it clad in it’s former strong yet earthy orange, (still quite noticeable in the neighborhood), next to the house pictured  below.  It has since been painted, but managed to avoid a Christmas glow, because of the paleness of the green, and pinky quality of the red.  Some might say that the placement of the paler color on the foundation’s garage door makes it feel ungrounded, but making such claims is not the purpose of this post.  You may draw your own conclusions.

Orange sherbert and Chocolate plum...vaguely gastronomic?

This house is the red and green home’s  direct neighbor on its left.  No slouch in the bright color department itself,  it no longer coordinates with its vibrant neighbor, and perhaps, fades into commonplace next to it.  However, it still stands out and reads as bold amidst the browns, ochres, golds and ivories that dominate the street.  Credit should be given where credit is due.

You could forget where you are....

Out of Monterey Heights, and away from the adjacent St. Francis Woods, one enters the world of the Outer Sunset Avenues,  punctuated by alphabetically named  streets which slope down to the blue Pacific.  Concentrated Asian populations, among others, reside in this area, their cultures reflected deliciously in colors and architectural details, as well as restaurant cuisine.  While gazing at the Church above,  framed by some of the few trees that grow out here, one could forget where one is for just a moment, and imagine being in other lands across the water.

Yellow ochre against jewel blue sky

Artists, musicians, and other creative types also live beach-side, and it is not completely unusual to see self-styled architectural additions, mural applications, faux finishes, textural surfaces, and decorative painting treatments like the one above, brightening up the often grey Avenue climes with strong color and whimsy.

One side of the street...

Driving West, I noticed that both sides of the street in a particular block had stretches of colorful houses directly facing each other.  Above, the shiny blue car adds a counterpoint to yellow,  green and red brick building fronts.

And the other side of the street...

Brightly colored cars would have been a distraction on this side of the street, and taken away from the yellow, green, ivory, mauve and blue house hues.  Happily, the homeowners complied with the concept of “variety within reason”, and maintained a balance of unity and complexity through their choice of dark gray automobile.  Thus, viewers and passers by, such as myself, were saved from the potentially negative effects of  overstimulation….

Backside View: weathered, poetic pastels...

Some might find the pale,weathered backsides of painted Avenue buildings understimulating, which could lead to restlessness and boredom in the viewer.  However, to me, these pastel-colored patinas,  slowly fading over time in the constantly shifting weather and light conditions of sun to fog, to rain, to sun again, contain a grave poetry . Perhaps they mirror the ultimately somber poetry of our lives: no matter how brightly we color the exterior, the facade will fade and crumple over time.  All is eventually claimed by nature. But what color we can create in the meantime, as we paint the portrait of our lives, reflected in our buildings, neighborhoods, cities and art!

If you have the time and the inclination, tell me what you think!  We are all in this thing called Life, together.