The work I’ve put together for Rememory is inspired by how we experience memories – their creation, impact and loss. For me, the exhibition is filtered through experiences my immediate and extended family – particularly my parents and aunts and uncles – had while my maternal grandmother battled Alzheimer’s disease and dementia until her passing a few years ago. It’s a difficult and often heartbreaking experience caring for those whose memories, mental and physical processes are slowly being stripped away. Watching and supporting a family as it deals with these issues is complex and challenging too.

While most people are more familiar with the utilitarian objects I tend to create – tables, chairs and cabinets – Rememory will feature mostly sculptures in ceramic, wood and plaster. The subject matter is weighty, but I hope people ultimately find the work in Rememory inspiring.

Rememory is a first Friday opening, from 6 p.m. to 9 p.m. on September 7, at the Kent Bellows Studio and Center for the Visual Arts. The exhibition runs through September 28. This is the first solo exhibition hosted at KBS, and I’m honored to have that distinction. The show is open to the public, and a portion of any sales will go to support KBS and its programs, as well as the Midlands chapter of the Alzheimer’s Association. I hope to see you there.

Combined with a (somewhat) recent feature on Design for Mankind, it’s been a pretty solid few months!

With multiple woods, strange angles, drawers, painted components and frosted glass that required me to enlist the assistance of my mentor and friend Littleton Alston, this proved to be a complicated and ultimately rewarding piece.

Balancing these two tables has been one of the trickier challenges I’ve faced since starting Measure Cut Cut Studio two years ago. Since both are large – about 4′ wide x 8′ long – I’ve found myself crafting each piece in stages and shuffling things around a lot to make room.

Another challenge is that the design and building process differs markedly for each piece. One is for Delinea Design, a growing multimedia creative studio located in the Market West neighborhood. Co-owners Matt Bross and Chad Eacker approached me last year with a simple design concept that I transformed into is a sort of avant garde design combining multiple drawers and open air cubby space with various types of wood and glass. The piece has a specific design (not everything I make has a “real” plan – keep reading…) that I’ve been able to reference throughout the building process and it’s moving along nicely.

Thus far, I’ve prepped and primed the legs, which were salvaged from the former Omaha Witherspoon Mansion. The legs anchor a plywood base and a top made of a combination of reclaimed redwood from the Falstaff Brewery, birch hardwood and locally sourced walnut.

Delinea Design’s recent growth has really pushed the limits of their current conference table, so I’m trying to get this piece finished by the end of January. It’s going to be tight, but I think I’ll make it. Keep your fingers crossed for me.

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The second table is for my amazing friend Megan Hunt’s workspace at the expanding Mastercraft building. Besides her business, Princess Lasertron, Megan operates a co-working space called CAMP. Her table will be more of a multi-function work table that anyone can use. I imagine Megan and her feisty assistant Shannon using it to lay out patterns, cut fabric or layout a spread of snacks for a networking event. But it will also be an excellent spot for CAMP tenants to layout plans or just chill with their laptops while contemplating their next move or doing some sort of computer work I wouldn’t understand.

So far, I’ve painted the thick, glossy black stripes on the top and started shaping the curvy legs that will also be painted glossy black.

Though this is a much simpler project than the Delinea piece, the challenge is that I’m working kind of intuitively. I have a basic drawing, but Megan likes my work and gave me some leeway with the final piece. I’ll likely end up adding a couple drawers and maybe some additional storage space. I also want to add an element that Megan’s and her husband Dave’s curious little daughter Alice can interact with as she plays and grows up some in CAMP over the next few years. That might be the biggest challenge of all.

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I mentioned I started my new semester as a mentor at Kent Bellows Studio. I can’t say enough about how amazing an adventure it is working with the kids at KBS. I’m lucky this semester to have 3 students working with me – each with diverse talents and points of view – and all with a passion for discovery and exploration. If I’ve ever talked to you about my experience at KBS, it’s likely I’ve said, “Tuesday’s are my favorite day.” For me, that’s true. Can you say that about a day at the beginning of the work week? If not, maybe you should look into a volunteer or mentoring opportunity. Expect to hear much more about my semester with KBS as we move through the winter. I have high hopes for my students and plan to showcase their work.

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Oh, and did you make it to any of the other big arts events this past weekend? The Bemis’s new “Placemakers” exhibit was a knock out. If you didn’t make it, it’ll be up for a while. You’ll immediately be drawn toward Quynh Vantu’s large grouping of inflated balls. But for me, Vantu’s other installation, a long, antiseptic hallway separated by several swinging doors, was her more compelling work. And like many others, I was drawn into (and desperately wanted to touch) Anne Lindberg’s meticulous grouping of strings in Gallery 2, “drawn pink.”

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]]> http://www.measurecutcut.com/process/tables-for-two-new-semester-at-kbs-placemakers-at-the-bemis/feed/ 1 http://www.measurecutcut.com/process/a-vessel/ http://www.measurecutcut.com/process/a-vessel/#comments Sun, 18 Dec 2011 19:24:43 +0000 pgcales http://www.measurecutcut.com/?p=811 Read more »]]> All the projects I take on are meaningful and important. Many carry an emotional significance based on the way my customer plans to use the piece, like an altar or dining table. It’s not everyday you get the opportunity to have something made especially for you that will be a part of your daily rituals and routines, and will eventually become part of the memories you make.

But lately I’ve been approached about doing a couple personal projects that have packed such an emotional punch that my customers and I have shed some tears. I’d be lying if I didn’t admit that these kinds of projects intimidate me. After all, when you memorialize someone, you have all sorts of responsibilities: honoring the person’s legacy, being honest, making sure the family feels happy and has their needs met.

I was recently approached by a colleague and friend who shared with me that he and his wife had lost a baby during a previous pregnancy. This had of course been a traumatic experience for them and their family. Following a cremation, they looked for a small urn or container that they could use to hold the ashes, but were unable to find the right thing.

When we initially discussed the project together, my client talked about how a friend had given the family an orchid and how it had become an important symbol for them. So in my initial drawings and sketches, I tried several ideas that involved orchids, either literally or figuratively. I looked at a lot of pictures of orchids and thought a lot about the Ghost Orchid, the rare and elusive subject of Susan Orlean’s book, The Orchid Thief. I thought about the term “ghost orchid” a lot, and wondered if it would be distasteful or inappropriate to bring it up in conversation for this project. I thought a lot about how orchids are often so unique and strange, like many people are.

But after a while I realized I wasn’t honoring or preserving a person’s memory; I was creating a vessel for the family to mourn memories that never had a chance to be made, and to experience loss, grief and hope together.

So following my exploration of orchids, I moved toward more abstract forms that were inspired by the beauty and uniqueness of orchids, but weren’t so beholden to them in form. I wanted to do something that was positive – not fun or whimsical of course, but beautiful, un-intimidating and inviting. I sketched a couple objects that had organic shapes that are similar to a vase or urn, but are more simply just vessels. I also decided to work my recent fixation with drawers into the design as a way for the family to interact with the piece, as opposed to it being just a holder for the ashes. My first of these was the brown and red piece in the sketch above, but I wasn’t happy with it because I thought the aesthetic was too indebted to Eastern design.

My follow-up – and the one that is now the main inspiration for the actual piece, is the one shown below.

This second sketch is a more vase-like form with a series of small drawers that spiral up the side of the vessel. There’s a drawer for each family member to add a special keepsake that will stay with the ashes, which will be placed in a lidded central shaft. Like many of the more complicated balloon pieces I’ve made recently, the design of this piece is pretty complicated. For an object that’s only going to be about 6-8″ in diameter and 12-14″ tall, it will have a lot of pieces – probably something like 50 individual pieces when I account for all the drawers.

This Vessel is the kind of project that makes me proud of the work I do, and embodies how important it is for me to have such a personal and involved design process with my clients and patrons. While it’s been a difficult project to start, I know it will prove to be an important one for everyone involved when finished, including myself.