Thomas Mann & Keith Lo Bue: Found to Finished

A few hours have passed since wrapping up my premiere workshop taught in conjunction with metalsmith Thomas Mann. We found that our working methods dovetailed remarkably, and I think the students got an unusual opportunity to sample from two very different perspectives in making objects. Thanks to all the participants, who made truly outstanding work - congrats to you all!

Plans are already hatched to continue the collaboration. Stay tuned...

Keith

Delusions, Excursions and Podcasts

(photo: Hugh Hamilton)

I'm off tomorrow for a month of teaching around the US. Sorry for the quiet 'round these parts, but traveling as much as I have has limited my studio time to a trickle. I'll be hitting the ground running in April, however, readying work for my first solo exhibition in Australia (!), entitled "Why the Wind Blows and Other Popular Delusions" which opens in mid-July in Hervey Bay, Queensland.

In the meantime, pop over here to the Craftcast website to listen to a podcast interview with me that just got posted.

Be sure to leave a comment over there if you feel so inclined.

Bye for now!

Keith

A Call To Arms (And Hands)

Although I haven't previously used this blog to spread the word about my upcoming workshops, I've gotten several requests to that effect, so now I'm giving this shout-out to join me as I prepare for 6 weeks of traveling and teaching in the US and Australia. If you've ever had the desire to work with found materials, or simply learn a few low-tech metal techniques, meet me at one of my stops, feed your brain and bone up on your hand skills. There are still a few spaces available at most venues, so go for it.

http://www.lobue-art.com/itinerary-2010.html

I hope to see you there!

Keith

Value(s)

I'd like to take a minute to post a comment on the 'value' of the antique materials I use in my work. I'm moved to do this after finding some very pointed and disparaging words about desecrating valuable, historic antiques. Seems the manuscript page employed at the end of the creation of my recent piece "The Diary of An Antiquary" (here) really brought the fangs out on a few folks. I was even accused in an offhand way of stealing them from a library.

I was given about 10 pages of this book from a student about 8 years ago. This student had purchased the book, in a very broken state (binding in tatters), at a flea market in eastern Europe. She had said there at the time that books of that vintage were not hard to find in various junk shops and markets.

The point of my post is that I never use objects or printed material that have a high value as a museum-grade material - many of the bits and pieces are found in dismantled condition. Just because it is illuminated manuscript does not instantly qualify it as a treasure to be enshrined in a museum. Their value as a material for re-interpretation, however, is priceless for me, as I believe firmly that by incorporating them into new works they can be elevated in a different way and begin their new life as a work of art.

Perhaps not surprisingly, these comments were made on a 'steampunk' forum, which is a fad that has cropped up in recent years that I find to be much more aligned with prop-making, fashion and set-design than the direction of what I make. To be fair, some comments were in support of what I'm doing, but for the others the idea of using a real antique just isn't part of the steampunk ethos.

If you're interested in reading the commentary, you can find it here.

In my work, to use a copy of the image or object is to miss the point of their presence in the first place - they are used because the object or image ITSELF has been through its own history. It is this accumulated, real history that I hope invests my artwork with its power.

I'd love to have a dialogue about this - anyone?

Keith

ONEIROCRITICA: The Found-Object Sculpture of Keith Lo Bue

As the new DVD takes shape (obviously I've chosen a title), it has brought me back to my roots in a big way. Spending time with my early work has been like having a family reunion. Look forward to seeing scores of never-published pieces, all hypnotically worked into slowly drifting dreamscapes of imagery. Or so I'm attempting. The software curve is steep, but I'm thrilled at what has happened so far.

Here is a sneak peek at a few of the very early pieces from the late 1980's that will feature on the DVD (click to enlarge).



One of the big new developments to announce is the inclusion of several incredible composers whose work will elevate these films. At this moment, in addition to Guy Klucevsek's crucial sounds, musical contributions span the globe, from electronic music / found sound masters Akira Rabelais, Taylor Deupree and Adrian Klumpes to acoustic minimalist composers James Blackshaw and Lubomyr Melnyk. I'm fairly jumping out of my skin at my good fortune - these are some of my favorite musicians on the planet. Check out their websites, listen in, and you'll see why I'm so honored.

Well, back to the keyboard - just thought I'd touch base and fill you in.

KL

A new DVD in the works

Lest you think I've fallen off the planet, I'd like to announce here that I'm now deep in the process of putting my new DVD together. Untitled as of this writing, it will be a survey and celebration of my non-wearable, sculptural artwork.

The main feature of the disc will be my first-time-available film from 1994, entitled 'The Dying Alchemist', which has been remastered and re-worked, and features incredible music, once again, by the inimitable Guy Klucevsek. It's a spontaneous romp through the making of one of my box sculptures in my studio in Westport, CT, from those early days of my output. It can be seen as the stylistic forerunner of 'Within and Without', the 2003 film I made with my partner Irena, that focussed on making a wearable piece.

There will be several other short film segments that have never before been made public, as well as a set of dynamic moving stills of sculptural work from 1988 to 2009, all cinematically set to music. Travel inside my sculptural work as never before. You can think of it as my website in joyful motion.

I'm having a blast sifting through my massive image archives and pulling out some pearls that are now only known by the people who bought them decades ago.

Below are some sneak-preview stills from 'The Dying Alchemist'.












Check back here for updates on the DVD's progress. Now it's back to work...

Ciao!

Keith

Endings, beginnings

My visit to the US is nearing completion; I head back to Sydney and family on Tuesday for a long-overdue reunion. It has been a phenomenal experience this time 'round; extended visits with my parents and siblings made it soul-satisfying - not to mention highly unusual - as normally my teaching schedule is pretty unrelenting during my time in the US.

But it was professionally eventful as well. Teaching at the lovely 'Art Is You' event in Connecticut, lecturing to the excellent graduate metals students at East Carolina State University, under the virtuosic hands of Bob Ebendorf; lots of inspiration flying around for those days.

This past week has seen two exciting developments for me. First was the new acquisition by the MAD Museum (Museum of Arts & Design) in New York of my 2004 neckpiece 'RETROSPECTION'. Following on the heels of being published in Ursula Ilse-Neuman's beautiful book 'Inspired Jewelry from the Museum of Arts & Design', it's a wonderful opportunity for my more recent work to be viewed by a larger audience. The neckpiece will make its public debut at the museum in November of this year. The second remarkable event has been the purchase of my newest piece 'THE DIARY OF AN ANTIQUARY', also seen in progress in the previous 4 postings below. It couldn't have gone to better owners.

I'm looking forward to getting back into my studio in November and continuing to explore all these new avenues that my recent work has laid the groundwork for. So stay tuned.

Cheers,

Keith