The Cadence of Stupidity
exploration of the origins of Pinocchio
Within my work, I have chosen when to abstract body parts and when to render them believable. I may make a hand with five fingers and other times I’ll make it a generalized form that may resemble a claw. Other times I will give the figure believable ears or choose to make one of the ears from a found object. I must remind myself to stay fresh and not be overtly predictable. In the, At Heart Level, series, when I decided to be more abstract, I made figures with large bulbous noses and people would say “Oh, you’re making clowns”.
I first would deny it because I wasn’t intentionally making clowns. After a span of time I sounded like I was in denial. I finally explored the cliché of clowns and unearthed a lot of interesting ways of thinking. After, in choosing to now explore figures with long noses, people would say to me, “Oh you’re making Pinocchio’s”. I then would say that I wasn’t and realized that I should explore the origins of Pinocchio or risk looking like I was in denial again!
In exploring the original story by Carlo Collodi, who was an Italian writer of children’s stories in the 1800’s, I found that this is not your Walt Disney ‘s Pinocchio. In fact, this is less of a story between Geppetto and Pinocchio, (Father/ Son relationship) and more of a story between Pinocchio and the Blue-Haired Fairy, (Male/Female relationship). The Adventures of Pinocchio as it was originally titled, was extreme in its unnecessary violence and mature undertones. This was not uncommon at the time because people of the nineteenth century had a different understanding of children.
In the original story, Pinocchio makes one stupid (not naïve) mistake after another. He starts by killing the Magic Cricket, gets his feet burned off while heating them by a fire, he gets mugged by thieves that he obviously should have noticed were guys he had met earlier, and he gets hung around the neck from a tree! Each time he gets in trouble he is saved by The Blue Haired Fairy who appears to him in three different incarnations. First, as a young girl, then a sexual and voluptuous young woman, and finally as a mother figure.
After reading this, I realized that I too make a lot of mistakes. Stupid mistakes. In fact, when I made a mistake, I remembered how my last mistake wasn’t that long ago, and that the mistakes were as constant as a drum beat, creating a cadence. Thus, this was the reason for the title of the series, The Cadence of Stupidity.
As a consequence, this series has the most “narrative” works that I have ever done, as well as, in retrospect, a comment on my own immature tendencies. Here, the pieces are more Baroque in nature. There’s a visual theme lifted from the beheading of John the Baptist, except that here, there is the beheading of Pinocchio also with glass noses that doubles as a reliquary for literal and symbolic poisons. In another visual trigger, it appears at first that Pinocchio is in a crucifixion pose as he stands straight up with out-stretched arms. However, he is actually pretending to be a tree with two branches as he coaxes two birds; one held and one perched. This piece is called Good Thief, Bad Thief.
There is also the mythic Japanese trigger of the Old Sage who “walks the earth”, memories of the Tashiro Mifune movies as the old Samurai comes to mind. Here in Saging the now old Pinocchio travels back to his forest home, as he carries an actual tree stump on his back as a symbol of his baggage, only to now find his home to be a clear-cut forest, and in the distance, the new forest of power lines with the posts made from the missing old trees.
Sculpture
What Tool Must I Use to Separate the Earth from the Sky?, 2000
ceramic, glaze, rose bush, wire, horse hair
44 x 33 x 16 in
Service at the Villa, 2000
ceramic, glass, electricity
40 x 40 x 20 in
Good Thief, Bad Thief, 2000
ceramic, glaze, oil paint, glass, plastic, wood
57 x 47 x 12 in
Good Thief, Bad Thief (detail), 2000
The Legacy of Cara Triste, 1999
ceramic, glass, gold leaf
40 x 20 x 10 in
Love Story, 1999
ceramic, wood, mouse traps
49.5 x 58 x 10 in
Love Story (detail), 1999
Lengua, 1999
ceramic, cowhide, wood, glass, epoxy
40 x 14 x 11 in
Lengua (detail), 1999
Stroke, 2005
ceramic, horse hair
18 x 20 x 8 in
Lost Angel with Scapula Wing, 2005
ceramic, plastic
31 x 13 x 7 in
Lost Angel with Scapula Wing (side), 2005
First Adam, 2000
ceramic, pencil erasers, hemp, cloth and stainless steel tray
16” x 17” x 15”
History of Ego, 2000
ceramic, wood
40 x 14 x 11 in
Painting & Drawing
All things being equal, 1997
soft pastel on paper
22 x 30 in
An Alchemical Birth, 2001
soft pastel & enamel on paper
22 x 30 in
Click, 1999
soft pastel on paper
30 x 22 in
Click (left detail), 1999
Click (right detail), 1999
Eye to Eye, 2000
soft pastel on paper
22 x 30 in
Eye to Eye (detail), 2000
Fountain, 1999
soft pastel on paper
22 x 30 in
The Gambler, 1999
soft pastel on paper
22 x 30 in
Homework, 2001
soft pastel on black paper
30 x 22 in
Homework (detail), 2001
Knot Hole, 2007
oil pastel with medium on gessoed paper
22 x 30 in
Knot Hole, 2007
soft pastel on black rag paper
31.5 x 26 in
Listen, 1996
soft pastel on paper
30 x 22 in
Mask, 2007
conte on paper
30 x 22 in
Pilot, 1999
soft pastel on paper
30 x 22 in
Service at the Villa (Meadow), 2000
soft pastel on paper
22 x 30 in
Service at the Villa (Nighttime), 2000
soft pastel on black paper
22 x 30 in
The Champ, 2001
soft pastel on paper
30 x 22 in
History of Ego, 2000
charcoal on paper
30 x 22 in
Two Still Lifes, 1996
soft pastel on paper
30 x 22 in
Wishbone, 2001
soft pastel on paper
30 x 22 in
Wishbone (detail), 2001
“Considered collectively, this body of work represents a mature style that demonstrates the artist's skillful execution in blending myth with contemporary comment, while producing pieces that are both authentic and unflinchingly honest in their approach.”
—Jo Lauria, Los Angeles-based curator, writer, and educator
Bay Area Ceramic Sculptors: Second Generation:
Arthur González, Annabeth Rosen, Nancy Selvin, Stan Welsh.
The Daum Museum of Contemporary Art, 2004.
So that's Cadence of Stupidity.
Tell me about your interest in the series, specific works, or both.
Ready to share your thoughts?