Nathaniel's Scriptorium Ambo
These are the beginning stages of ordnance pieces for the game made according to design instructions for an 18th century idea of cool-looking game pieces to represent cannon, mortars or howitzers. The tactics and ideas used in the game were state-of-the-art at the time of initial publication.
A phrase that's difficult to render in contemporary English because it's neither contemporary nor English.
We're making progress, though. The text is being cleaned up, the tables and charts are coming along and the demonstration game setup is slowly but surely taking shape.
Shown here are all the cavalry and infantry troop figures for one side of a two player game. Not pictured are the artillery and other equipment pieces each player also needs. Eventually, all of one side's pieces will be red and the other player's pieces will be ivory or whitish.
My paintings will hang at North Water Street Gallery a little longer now. Cool.
Knights! There are about 70 here but I only need 60. This probably looks like some strange fetish collection or OCD dark hoarding, but I don't think it is. I hope not. In truth, I need these for my current WIP and I acquired most of them in one haul. More on this to come as it develops and it is shaping up pretty well so far.
So here's a thing. Grateful to Jeff Ingram of the North Water Street Gallery in Kent, Oh. for setting this up. Jeff was actually the first person to show one of my pictures in a gallery outside of a school event way back in 1999...or was it 1997? Either way, great guy who runs an excellent community arts organization called Standing Rock Cultural Arts.
Check them out online at: https://www.standingrock.net/
mixed media on newspaper on cardboard, 31 x 40 inches.
I love Paul Klee. Brilliant designer. Unsurpassed stylist. A very special human being. I worked through the better part of his notebooks and Bauhaus lessons and while I'm not saying it was a complete waste of time, it was almost a complete waste of time. Not sure if he was a hustler or was sincerely attempting to document and explain his process in earnest technically, but the teachings amount to a whole lot of psuedo-intellectual hot air. Couched in exclusivity jargon and fancy terms for brick-simple concepts, the bulk of the materials aren't worth the time for a person trying to improve his or her craft. People claiming his writings on Art are on par with da Vinci are lying or confused. Whereas da Vinci informed generations of not just artists and craftspeople but also engineers and technicians, Klee's writings are thousands of pages the end result of which can be better internalized by understanding the golden mean and a brief survey of his artist's statement/manifesto. Or better yet, study his pictures. I imagine it was a combination of needing to justify his approach and teaching position, keep pace with the intelligentsia fashions of pre-Great War Germany and fill time when asked to speak publicly on his work that led to his prodigious overly complex prose. That or he was sincere and extremely neurotic. His math exercises take the student on long tedious journeys of arithmetic that end up illustrating principles that if not patently obvious or intuitively graspable are demonstrable by considerably more direct and simple means. That and they aren't particularly helpful to a person trying to improve his or her design powers.
Regardless, he's great. My favorite of the...whaddya call it? Was he Cubist or Expressionist? Whatever. I'm glad he defies classification. That's a hallmark of Quality, in my humble opinion.
Oh, also, like Klee, I made this frame by hand for the painting and the mat area is part of the painting itself. Note that the original is around 10.5" x 15.5" whereas my loose interpretive copy is a bit bigger at 31 x 40 inches. It hangs in my home above the landing on the stairs.