This Dirt Is Older Than I, or Elizabeth Duffy’s Witness

Nigh on two years ago I received an email from Elizabeth Duffy, a writer from Indiana, wanting to ask me a few questions about my art for her blog at Patheos.  She sent questions and I sent back my answers.  It went on for three or four months like that, and trust was built.  In the end she shared our interview in four parts on her blog.  Meanwhile Elizabeth felt the fruit of our dialogue merited a wider audience, and she went in quest.  Image Journal took the bet, and Elizabeth went to work.

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I owe a debt to Elizabeth, but not necessarily for publishing an article about me in a magazine, although, that too is cool, and I expect that the measure of artistic validation it lends me is not insignificant.  It is for her time and her witness that I am grateful, it is for her trustworthiness.  I suspect most artists wonder, like me, if all the labor and turmoil that goes into making art, which purports to have emerged from a deep place in the created heart, is not the dead end of futility that it so often seems to be.  I know at least that it matters to Elizabeth, so much so that she built a soap box and voiced it to as large an audience as she could muster.  More sacred, she proved her trust with those treasures in my heart which I was able to share with her.  That carries weight.  Thank you Elizabeth.  You came along side me and we plowed together.  We even made the cover.

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You can read the article online if you wish, or even buy the whole journal it here.

With genuine authenticity (I know it’s redundant) and authentic hunger, Elizabeth writes for a variety of different outlets, including Image Journal’s blog, Good Letters.   The best place to start and catch most of it, is at her personal blog.

Provision

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I have been printing an edition of Flying Fish, a copper-plate engraving about the miracle of provision experienced by Thor Heyerdahl and his crew in the Pacific Ocean on their balsa log raft, the Kon Tiki.  This print is for sale at the Baumwerk Etsy store.

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…a Walking Man drawing for my friend Steven.

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Place

“Rootrill” I hope that you will forgive me for posting an eleven minute song in the twenty first century.  Mostly, I hope that you enjoy it.

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arc contain glow
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seen through scene
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bois d arc meteorite
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slanting even evening light
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ancient bone star dust
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deere ghost sheep goat add straw and mix well
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cross turn
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years unfurl in the eternal present
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young hands dextrous
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core sample of stored solar energy
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made vacant for gold
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quince roots herbs leg
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reamed tapered tapped turned twisted sunk fitted formed around
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concentrate earth line essence
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absorb the sun and use it for life
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pull transfer motion
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dividing even unto cambium and xylem
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layers and layers
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learn purpose practicing discipline
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stop motion
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frozen movement osage root as it once reached
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three forms of light
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hand in hand you who once swayed
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ancient releasing story
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the turning of light upon the solar bank countless voices scratch and turn
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golden hands once full wait for wisdom
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new moon forest window
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tall down cut stack turn stack down
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erth-maker here we bend here we grow
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establish converge into order dust scratcher
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welcome the new bird and fare thee well

Onforan

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Prairie Creek Dining Table in white oak and black walnut.

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Red Elm window sill and shelf moving from rough to smooth.

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and being joined longways.

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Obed Edom is getting his finishing touches.

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A test print is pulled to see what needs adjusting.

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John Beartrist Laceroot is stirring.

Afore and Behind13Jonas is free from his box and wondering if it could be time to tell his story again.

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Clive Hicks Jenkins has posted the second part of an interview with me about The School of the Transfer of Energy Puppet Theater here.  Thank you Clive.