Since April, production on new artwork, music and writing has been locked in overdrive. So much so that about two weeks ago I finally hit a creativity levee. Calista and I had so many things on our plates that, for my part, something had to give.
However, the factors that have been pulling my attention in different directions are 100% positive.
One day I was sitting in the Palm Springs Art Museum, waiting for Calista who was attending a Leadership Coachella Valley meeting. I had some lined note paper, a mechanical pencil, a healthy dose of boredom and an eagerness to push the design of the ODK Hammer into something more exciting than it currently was.
Up to this point, the differences between each hammers’ shape was pretty extreme. I wanted to create an internal system or structure that they could all share. I imagined what the skeletal system of an organically grown Osteodontokeratic Hammer could look like. How would the bones fit together? How many bones would the hammer even need? Would there be areas or spaces for internal organs? Most importantly, how would the entire osteo-donto-keratic concept be distributed throughout the tool.
A five or six month hiatus can move by pretty quickly. I tend to have three or four projects going on at the same time. The summer months, as hot as they are, can be the perfect time to focus on some of these other projects.
Trapped inside a heavily air conditioned apartment, I focused on producing my fifth album, Three Sides of the Same Coin. With the summer sunshine in abundance, I set off to non desert locales to find more In A Place scenes. IAP benefitted twice that summer since I was also focusing heavily on the layout of the art book. Sherry Wisener joined the IAP project as the book’s editor. By the time the fall colors started to arrive, In A Place: An Art Book was finished.
Developing the ODK Hammer as a structurally strong sculpture while achieving an organic look has been a long process.
Once I had decided to use the various types of Sculpey to create the hammers, I began crafting some small test sculptures to see what techniques would work best to produce a realistic skin surface. The polymer clay I was focused on using, Super Sculpey, already went a long way in achieving a defused, skin-like luminance. However, there was still a great deal of work that could be done to push the medium even further towards appearing like real skin. I was hopeful to have the majority of detail sculpted into the clay to pull off the final look.