04F-15 (December 4)
As the morning progresses clouds reach from the south, light thin fluffy outriders before a solid deck, borne on a steady and cool south wind. When the advancing shadow reaches me the day becomes cold. I'm at the point of carving some fine detail in the sculpture and my hand is becoming unsteady. I'm losing the battle for warmth.
I'm now a southern Californian. Anything below 50 degrees is cold. I used to laugh at people like that. Of course, some of them still think I'm nuts. I'm out here in a kilt, bare feet and a T-shirt. Finally I put on the jacket Carlos gave me, but the kilt is still very drafty. There are times for long pants. Or a dress. Maybe a sleeping bag would be best.
At least the clouds don't seem to threaten immediate rain. I keep carving, body just a gnat's whisker from uncontrolled shivering.
Then there's a miracle. The clouds simply evaporate and late afternoon sunlight floods the beach. Lizard-like, I respond to the warmth. I can feel my toes again. Fire begets fire and the sculpture is cooking.
Build number: 04F-15 (lifetime start #297); monolith on standard riser
Title: "Holding Spirit" (AKA "Certainly Larry, Certainly God")
Date: December 4
Location: Venice Breakwater, on the flat
Start: 0800, construction time 7.5 hours
Size: 42" tall, 21" diameter (Latchform), immersion screened native sand (fine)
Helpers: none
Digital Images: 54, with Canon EOS-1D Mark 2
Photo 35mm: none
Photo 6X7: none
Photo volunteer: Rich, w/Canon Z115, completion
Video motion: none
Video still: none
Video volunteer: tools and sculpture by Suzi Zimmermann, with interview
New Equipment: none
Comments: Built sculpture at 4-foot level where good sand was available
"That's beautiful!"
"Thank you. Come back when it's finished."
"It's beautiful right now."
It's just a cylinder with some facets carved flat. It's a good, solid pile, carving well. Debbie watched me take the first few strokes and these took some real muscle. I was lucky. The lack of storms let fine sand build up just out of reach of the evening high tide, so I don't have to carry it.
There's a further benefit of this slow tidal change. "Do you want to learn how to do this without tools?"
She smiles. "Sure."
I quickly build a little free pile, where the sand is wet and becoming wetter by the languid tide's rising. The pile will soon be undermined but it will last long enough. Using a mussel shell I carve it into a little flat arch.
"Oh, look at that! I'm going to have to get Nathan down here."
"Let me know when. I'll give you more lessons."
She walks away to move her car before the meter runs out and I return to the day's major project. I want something both simple and complex, so the shapes the first person responded to are the simple part. Two broad panels leaning on each other, with the west side open. There's to be a surface in there, between them, dividing the sculpture into levels.
The idea stays surprisingly intact as the day progresses. The two panels merge with a smooth curve at the top, and the surface inside doesn't quit do what i'd thought, but where its extension comes out and curves downward there's enough space behind it to carve a flat surface. This invites a curtain-wall approach, so I hollow it out from behind. The vertical panels will hold themselves up.
The result is spectacular near sunset. Light comes through in surprising ways. It's another gift. If the day had gone as it was earlier it would have been a cold grey sculpture on a cold grey beach. As it is, though, the day is warmly golden and thin clouds burn on the horizon.
Note: Suzi Zimmerman videotaped the clean-up of this piece, and interviewed me, for her "End of the Western World" documentary about Venice Beach. She also videotaped some construction of 04F-16, and added to the interview. Both sculptures are shown in the documentary.
2004 December 5
Edited for clarity 2015 October 2
I'm now a southern Californian. Anything below 50 degrees is cold. I used to laugh at people like that. Of course, some of them still think I'm nuts. I'm out here in a kilt, bare feet and a T-shirt. Finally I put on the jacket Carlos gave me, but the kilt is still very drafty. There are times for long pants. Or a dress. Maybe a sleeping bag would be best.
At least the clouds don't seem to threaten immediate rain. I keep carving, body just a gnat's whisker from uncontrolled shivering.
Then there's a miracle. The clouds simply evaporate and late afternoon sunlight floods the beach. Lizard-like, I respond to the warmth. I can feel my toes again. Fire begets fire and the sculpture is cooking.
Build number: 04F-15 (lifetime start #297); monolith on standard riser
Title: "Holding Spirit" (AKA "Certainly Larry, Certainly God")
Date: December 4
Location: Venice Breakwater, on the flat
Start: 0800, construction time 7.5 hours
Size: 42" tall, 21" diameter (Latchform), immersion screened native sand (fine)
Helpers: none
Digital Images: 54, with Canon EOS-1D Mark 2
Photo 35mm: none
Photo 6X7: none
Photo volunteer: Rich, w/Canon Z115, completion
Video motion: none
Video still: none
Video volunteer: tools and sculpture by Suzi Zimmermann, with interview
New Equipment: none
Comments: Built sculpture at 4-foot level where good sand was available
"That's beautiful!"
"Thank you. Come back when it's finished."
"It's beautiful right now."
It's just a cylinder with some facets carved flat. It's a good, solid pile, carving well. Debbie watched me take the first few strokes and these took some real muscle. I was lucky. The lack of storms let fine sand build up just out of reach of the evening high tide, so I don't have to carry it.
There's a further benefit of this slow tidal change. "Do you want to learn how to do this without tools?"
She smiles. "Sure."
I quickly build a little free pile, where the sand is wet and becoming wetter by the languid tide's rising. The pile will soon be undermined but it will last long enough. Using a mussel shell I carve it into a little flat arch.
"Oh, look at that! I'm going to have to get Nathan down here."
"Let me know when. I'll give you more lessons."
She walks away to move her car before the meter runs out and I return to the day's major project. I want something both simple and complex, so the shapes the first person responded to are the simple part. Two broad panels leaning on each other, with the west side open. There's to be a surface in there, between them, dividing the sculpture into levels.
The idea stays surprisingly intact as the day progresses. The two panels merge with a smooth curve at the top, and the surface inside doesn't quit do what i'd thought, but where its extension comes out and curves downward there's enough space behind it to carve a flat surface. This invites a curtain-wall approach, so I hollow it out from behind. The vertical panels will hold themselves up.
The result is spectacular near sunset. Light comes through in surprising ways. It's another gift. If the day had gone as it was earlier it would have been a cold grey sculpture on a cold grey beach. As it is, though, the day is warmly golden and thin clouds burn on the horizon.
Note: Suzi Zimmerman videotaped the clean-up of this piece, and interviewed me, for her "End of the Western World" documentary about Venice Beach. She also videotaped some construction of 04F-16, and added to the interview. Both sculptures are shown in the documentary.
2004 December 5
Edited for clarity 2015 October 2
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