DANVILLE CHADBOURNE

THE INVENTOR OF PLEASURE 1992Front Cover FRAGILE MONUMENT TO THE DISSOLUTION OF NIGHT MEMORIES 2004-08

DANVILLE CHADBOURNERETROSPECTIVE PART 4

SMALL WOOD SCULPTURES 1980-2017

OCTOBER 5 – NOVEMBER 12, 2017

ESSAY BYMegan Biesele, Ph.D.

Director, Kalahari Peoples Fund

PHOTOGRAPHY, DESIGN, AND DIGITAL PRODUCTIONConan Chadbourne

PRINTINGLitho Press

A DEADLY MODICUM OF ACCEPTANCE 1999

SUBLIMINAL GAME OF REPETITION 1997-05

STATEMENT FROM THE DIRECTOR

I am excited to host Danville Chadbourne and his retrospective exhibition at the Martin Museum of Art. This exhibition showcases a significant Texas artist.

This body of work evokes a spiritual journey through totem-like constructs that simultaneously appear contemporary and ancient. These small wooden sculptures offer an introspective and almost otherworldly experience. The breadth of Chadbourne’s work is impressive, and it is obvious that his creative process is meticulous and unending.

I am especially excited for our students in the Art Department at Baylor to have the opportunity to study and follow the progression of this body of work offered through the retrospective approach. It is important that they experience and interact with artists and artwork of this caliber.

I hope everyone enjoys and experiences this exhibition with as much intrigue and awe as I have.

Allison Chew Syltie Director, Martin Museum of Art Baylor University

INTRODUCTION

I am honored to say a few words about Danville Chadbourne, and to have his work on display here at Baylor University. First off, he is the most prolific artist I have met, and I consider him to be one of the most important artists alive and kicking in Texas today. He beautifully combines materials in a poetic fashion, giving voice to bone, wood, clay, etc. in an orchestra of visual delight. A few years back, as I stood among the piles of unfinished sculptural components in his studio, I realized that many sculptors avoid color as an element. But not Danville, he embraces it, and excels with it in a way that few have done.

When I first met Danville and Diana, they were kind enough to let me stay at their place even before they really knew me. They opened my eyes to San Antonio and the lower half of Texas, allowing me to experience it in a way I couldn’t have otherwise. Having stayed with them on many occasions, I always leave their place enlightened, whether it be related to music, visual art, comic books, or the flea market! They are true friends, colleagues, and ambassadors of art. I can’t imagine Texas without them.

Robbie Barber Associate Professor, Sculpture Department of Art Baylor University

DEVICE FOR CLASSIFYING TRUTH 1985

DEVICE-LIKE THINGS Small-Scale Sculptures in Wood by Danville Chadbourne

The small-scale wood sculptures in this exhibition remind me how much childhood memory resides in my hands. Wooden toys and wood-handled tools from the nineteenth century were what I played and worked with when visiting my grandparents as a child. These archetypal toys and tools are better known to my hands than to my brain. To walk among Danville Chadbourne’s sculptures as they are gathered for display is to feel the itch of growing awareness and mastery in my childish fingers, repeated again in much older age.

Some of the pieces here that unite youth and age for me this way are DEVICE FOR CLASSIFYING TRUTH, with its legs like the legs of an old wooden compass, or THE BLIND SEARCH FOR DESIRE and APPARITION AT THE MYSTICAL DWELLING PLACE, both of which suggest the poise and balance of wooden dancing dolls. My fingers remember enticing wooden figures mounted on a jack-in-the-box squeeze mechanism that flung their limbs in abandon, but remained under my control.

THE BLIND SEARCH FOR DESIRE 2001-02 APPARITION AT THE MYSTICAL DWELLING PLACE 2001-02

THE UNKNOWABLE HISTORY OF TRUTH 2014

I have a similar response to another subset of Danville Chadbourne’s art, the rectangular wall-oriented wood drawing panels he has made for years. These panels remind me of the checkerboard, the chessboard, the crokinole board, the Ouija board—all again from the nineteenth century and my grandparents’ house—on which I played late into the night with my cousins during summer visits. I remember the musty scent of them, the feel of the worn boards and playing pieces, the references they evoked and still evoke of the Victorian and Edwardian literature of childhood on which my mind was also raised. The piece titled THE UNKNOWABLE HISTORY OF TRUTH in this exhibit evokes for me the pushmi-pullyu of the Dr. Dolittle books from the 1920s.

This wooden art has inescapable reference for me to later experiences in my life as well. From age 25 on, I spent hundreds of months in Africa as an anthropologist living with hunter-gatherers and their agriculturist neighbors. The forms of wooden tools used by these people harkened back considerably beyond Victorian times. Even their very recently made tools and ritual objects quickly acquired the patina of age from usage and from the sun. Pieces in this exhibit that forcibly recall the handmade items I saw in daily use in Africa include the adze-like ANONYMOUS PRIVILEGE, the forest of walking-stick-like forms in THE DIALECTICAL QUESTION OF IDENTITY, and the reliquary-recalling THE DREAM OF THE MARTYRS. All three of these refer to handmade wooden artifacts familiar now to most westerners only as museum pieces. They refer to them in multiple ways, making the mental connections irresistibly stronger. Not only practical form is referenced but color banding, binding techniques, and use of materials like fiber, beads, and even teeth.

ANONYMOUS PRIVILEGE 1981-88

THE DIALECTICAL QUESTION OF IDENTITY 2004-06

Looking at these pieces in the aggregate, I find that I can’t NOT have these associations from childhood and from Africa. I am compelled to have the memories, as surely as Danville himself is compelled to make these pieces he calls “device-like things.” “I can’t NOT do this,” he said to me simply.

It seems that we are privileged by this art to experience a simulacrum of the creative flame that animates the artist. The synapses that live in our minds and the ganglia that live in our fingers become active, burrowing into our own pasts to see patterns, create meanings, establish connections. The connections are myriad, inspiring us by marrying their mad energy to our own. A quick list of my associations to just a few of the pieces in this exhibition would include the plastic body-bags contorted by wind machines for advertizing purposes outside of car dealerships, reminding us that tree branches too are contorted, over time, by wind. The figures of hunters running with weapons in prehistoric cave art. The ineffable grace of curved forms in nature, and the energy, like that of springs, contained in coiled forms. The blockages of frustration, moments of unlikely or unexpected balance, the insecurity of a dancer with a wounded leg. Statements made directly “in-your-face.” Pointy mountains it would be a nightmare to climb. The weathered pilings of a pier, complete with dangling snails. Manly tools, and scary tools with sharp points turned inward until needed at a later date. Vigorous elders, too, are here, a figure ringing the changes on bellropes, and my two favorites, THE ETERNAL RELATIONSHIP - HIDDEN DAMAGE and PREMONITION OF THE ETERNAL, which look to me like, respectively, productive conversation and the essence of fellow feeling.

Danville’s fixation on wood dates back to the 1970s, although at that time he was mostly working in ceramics, even teaching ceramics. When I walked with him through his studio discussing these more recent pieces and how he made them, I was astonished at the many kinds of wood he used, and his reasons for doing so. He spoke of his love and lust for wood, his work as “an adventure in wood” and an homage to it, his pieces as “reveries, rituals, and poems” on his engagement with trees. He said these small-scale wood sculptures are intimate, whittled, private, with peculiar, found bits of wood becoming triggers for something else. He said the individualism of each piece of wood is endless, and lends it animistic and animated properties. He said wood spoke to him of “elemental things, like markers, kipus, knots that are records,” that his art is triggered by the act of acquiring “found, handleable” wood and by trimming trees, and that the storage of sticks is for him a real compulsion. The uses of sticks and wood by ordinary people in making discoveries, in divining, dousing, using a plumb bob—all these animate his mind and get his skilled hands working and shaping.

We walked through the piles of wood in an old house he bought for storage purposes next to his studio. Danville has used Alaskan cedar, he said, aspen from northern New Mexico, teakwood bowls, hackberry (except that it draws insects), pecan. “Spalted pecan produces rot-patterns but remains stable!” he told me. Chinaberry drilled by bees. Mahogany. Red cedar (really juniper) from central Texas. His dominant favorite for the last few years has been ligustrum, which has no insects and is “white, hard, stringy, and tough.” Oak from his father’s farm near Bryan, Texas. Jungle vines. Pittosporum. Southern yellow pine, sweetgum,

THE DREAM OF THE MARTYRS 2002-04

maple from Connecticut, bois d’arc, mesquite. Trash wood, motorcycle crates from Asia, black diamond willow, and his own backyard tree trimmings. Danville is an athlete of the wresting of sculptural wood materials from diverse and unlikely places.

I asked about the wood tools he uses. His most important tool is a belt sander. He does 99% of all shaping with the sander, and then goes to sandpaper and a pocket knife. He estimates he has sanded “100,000 miles of surface.” He can’t hire anyone to sand. Clearly his skill with preparing surfaces exists at “fingertip level;” it can’t be duplicated or “schooled” into someone else.

In addition to the belt sander Danville uses a table saw, a chop saw, a circular saw, and occasionally a chain saw. He uses a box of adze-like angles, he exaggerates the curves in wood with string, he builds connections between mountain trees (cedar, aspen) using caribou antlers, he holds chinaberry bark back with clamps. He makes needed repairs to wood elements using copper patches: this is partly aesthetic, partly functional (and to my mind, one of the most satisfying aspects of this art). He tends to leave the various woods in their natural colors, often using many kinds in one piece. The colors become a way to amplify meanings. Sometimes contrasting shades of blue pull your eye across the space of a piece. These are “conceptual underpinnings,” he said, “not just random design elements.” Often, they are memories of private ritual things. Examples of these private references, he told me, include the Mexican pinks of the Zona Rosa subway line, and the blue of a cross at a church near Caldwell, Texas.

Danville Chadbourne loves to hear that others may find entirely different resonances in his art, find their own meanings for the pinks and the blues and the balancing acts and the wood grains. His interest lies in spreading out the creative experience beyond himself to everyone. He makes his art from the experiences of his observant, appetitive life to give us the joy of making our own connections.

Megan Biesele, Ph.D. Director Kalahari Peoples Fund

PREMONITION OF THE ETERNAL 1988

THE ETERNAL RELATIONSHIP - HIDDEN DAMAGE 1993-94

DARK SCIENCE - A MYSTERY OF FACTS 1980

STATEMENT FROM THE ARTIST

My earliest sculptural works were predominately made of clay. This was a material that had enormous expressive potential, was inexpensive and easily available, and carried a huge historical weight. It was, and still is, the material of the ages, the material that has survived throughout time as a cultural and technological indicator. I loved working in clay and it is still one of the most fundamental materials in my work today. However, for all its virtues, it also has (like all materials) some limitations and specific capacities. Linear forms in space and certain constructed forms are difficult to produce and fragile in their final execution. Wood can accomplish some of these tasks with ease. It is also a primal material with many of the same associative characteristics that attracted me to ceramics, that could extend my capacity for sculptural ideas without a compromise.

By the mid-1970s much of my sculptural work began to use clay and wood in combination, each material doing what it did best, utilizing the mass and line of each material to create a sculptural dynamic I could not accomplish otherwise. I was able to create larger and more complex works in physical terms, but it also expanded my conceptual and expressive range. The notion of contrasts became an important part of my visual vocabulary.

In 1979 I moved from Hobbs, New Mexico to San Antonio, Texas to teach at the former San Antonio Art Institute, which was associated with the McNay Art Museum. Although I was teaching ceramics and continued to produce a large number of works in clay during this time, my interest in wood continued to grow. I began to produce a group of wall-oriented relief works in wood (the subject of the previous Retrospective Part 2) that continued for about ten years, and eventually evolved into the drawings and paintings on wood panels that are a major part of my activity today. Up to that point wood had usually played a secondary or supportive role in my sculptures, but I began to see it in a more dominant or singular capacity. I was also interested in creating smaller, more personal objects, works for private devotion and contemplation rather than larger public concerns. I had made small-scale works in clay since the beginning, but never in wood. Somewhat impulsively, I began creating small, carved, whittled, or constructed wood sculptures that felt more like folk art objects, or ritual tools, or tomb paraphernalia from ancient Egypt. In 1981, I had a one-person exhibition of these new pieces at Objects Gallery (later Caroline Lee Gallery) in San Antonio. Seeing this work in a formal gallery setting and getting interesting responses from the audience encouraged me to continue exploring this formal direction. That exhibition was the beginning of a continuous stream of small-scale wood works that continues today. Over the years, I have produced several hundred works that fall into this category, which are the focus of the current retrospective exhibition.

My original impulse with these objects was that they would be small and simple, with strong emphasis on the natural wood. Inevitably, as I worked I began to introduce color, eccentric found elements, and more complex constructions. They also began to grow in scale, partially because of the scale of the found elements and partially because of my need for a stronger

THE CERTAINTY OF DOUBT 1981

THE ASTONISHMENT OF THE BLIND 1981

THOUGHT PARALYZED BY INDIFFERENCE 1983

and more forceful sculptural presence in the works. Periodically I would return to small, simple pieces. Over the years, I have found a kind of equilibrium by simply doing multiple things simultaneously, producing small intimate works along with larger more complex and assertive pieces. Operating in parallel streams of activity ultimately seems to be a natural process for me.

My interest and knowledge about wood has grown enormously since the beginning of this enterprise. I had no formal training in woodworking, carving, construction or carpentry, so I taught myself through doing and invented my own processes and techniques. I collected and used almost any wood that came into my view, from shipping crates and commercial lumber to found logs and branches. I have used a large variety of woods over the years for various formal, structural, or aesthetic reasons – color, texture, gesture, durability, strength, mythic associations. A huge part of the generative process for me is the finding and collecting of materials, and the discovery and/or invention of the expressive character of each piece of wood. Despite the fact that I have, at this point in time, enough wood parts and pieces to last several lifetimes, I still collect materials when traveling, occasionally accept gifts of wood from friends, and save many specific pieces when trimming trees in the back yard. Because each piece of wood is the remains of a once living and reacting organism, each one carries an individual identity and a residue of its experience. For me, this unique identity has great expressive power and metaphorical potential. The decisive moment and the reaction to circumstance exist in a kind of parallel situation for the tree and in our own lives. My aesthetic decisions involve making this into a work of art.

Among both artists and craftsman wood workers, there seems to be a hierarchy about what woods are best or even acceptable to use. I have a tendency to use what is normally discarded or rejected, like warped lumber with knots, cracks or stains. Salvage, reuse, and redemption are important issues for me. My choices are driven more by circumstance or availability than by what is acceptable or typical. In the 1970s I spent a lot of time in the mountains in northern New Mexico. Because it was a common and distinctive forest tree, I began using aspen early on as a regular material. It is soft, white, relatively lightweight and grows in long, straight poles with peculiar nodules along its length, with complex angular branching. Red cedar (juniper) from my father’s farm in central Texas became another early favorite material because of its rich red and white mottled coloring, insect resistance, and special gesture. It also evoked strong personal memories of time and place from my childhood.

In recent times, ligustrum and chinaberry have become my most commonly used woods. Both are nineteenth century imports from Asia that have escaped cultivation and are common and plentiful, especially in San Antonio. Often considered “trash” trees, or invasive “nuisance” species, I think of them as naturalized immigrants to America. Ligustrum is hard, white, structurally strong and has very specific branching that I use for certain angular shapes. Chinaberry is soft and brittle but grows very fast in long, smooth, sinuous shapes that have a very animated presence. As a member of the mahogany family it also has a rich yellow-to-brown patterned grain. I use many other woods for their specific characteristics and continue to explore new ones. In this show alone, the works include: pine, cedar, pecan, mesquite, hackberry,

THE IMMUTABLE AGE - A TALE OF CHANGE 1984

fir, sycamore, mahogany, oak, cypress, bois d’arc, yaupon, redwood, ebony, poplar, cardinal wood, teak, maple, acacia, pear, purple heart, cryptomeria, and bamboo, along with numerous unidentified found pieces. From my perspective, the range and availability of different woods for artmaking is virtually limitless.

The selection of works for this exhibition was guided by an attempt to represent the range of small-scale artworks in wood I have produced over the past 37 years. Obviously other materials like clay, fiber and antlers are included in these works, but the emphasis is primarily on the gesture and character of the wood. I specifically limited the choices to works that are under four feet tall, because it corresponds to my working and thinking process, a kind of self-imposed boundary. It is a personal determination about how I think about scale and sculptural presence. I make larger works in wood, but once a sculpture approaches human scale it takes on a different character. I attempted to select works that would accurately represent the various ideas, impulses, and tendencies that developed in my work during this time period. Many other pieces could have been included or substituted, but ultimately I feel the final selections form a coherent and representative group.

The exhibition also includes a number of wall-oriented works, made primarily of wood, that share forms, motifs, color relationships or other conceptual materials with the sculptural works. I have always worked on multiple ideas, processes, and formats simultaneously, sharing both conceptual and formal concerns across the whole body of work. I feel the inclusion of these wall-oriented pieces helps to convey and reinforce some of the ideas that inform the sculptures, adding balance and composition to the exhibition as a whole.

This exhibition was the product of a rather slow and lengthy development. I would like thank the Martin

THE IRREGULAR PARALLEL - A FABLE FOR BELIEVERS 1983-84

Museum of Art at Baylor University, especially its Director, Allison Chew Syltie, for making it finally happen with her generous support and facilitation in all aspects. Thanks also to Robbie Barber, Associate Professor of Sculpture at Baylor, for acting as faculty sponsor for this show and especially for his personal and very touching introduction to the catalogue. I have valued his friendship and artistic integrity for many years.

I would like to express my sincere gratitude to the many collectors who have agreed to lend work to this exhibition. Their support and friendship over the years has meant a lot to me. Their generosity here has also allowed me to balance the proportions of the exhibition by including older works for which I have only a few related examples left in my studio, or significant works that were crucial to a representative perspective. It was gratifying to see and photograph much of this older work, like reconnecting with old friends. It is very likely that seeing these older works will inspire new ones in the future.

I am very honored to have my dear friend Megan Biesele write such an insightful and personal essay about my work. Megan is an anthropologist who has focused since the 1970s on the language, folklore, and expressive culture of hunter-gatherers, especially the Ju|’hoan (!Kung) San of the Kalahari region in southern Africa, as well as being a leading advocate for the rights of indigenous peoples around the world. We have shared many meals and great philosophical conversations about art and life for many years, and I hope to continue the dialogue for many years to come.

Photographing artworks, especially sculpture, is a very tricky and frustrating process. Over the years, it always been one of the most difficult and uncomfortable experiences I have had as an artist. I feel very fortunate in the last few years to have had a change in fortune regarding photography. My son, Conan, has produced such consistently excellent images of my work for so long now that I am beginning to forget how miserable it used to be. His craft and judgment with the photography and catalogue design make the process gratifying and almost enjoyable.

Finally, my greatest love and thanks goes to my favorite girl, Diana Roberts. She is my ideal food, art, film, travel, museum, and adventure partner and has been for 28 years. She is responsible for a great amount of the curatorial perspective for this show, and she also does all of the horrible computer work. Thank you.

Danville Chadbourne May 2017

THE UNCERTAINTY OF PRIVATE WISDOM 1984-87

NIGHT DANCE - THE SURRENDER OF CONSCIOUSNESS 1988

MYSTIC APPARITION - THE SURRENDER OF CONSCIOUSNESS 1992

THE PAINFUL EVOLUTION OF THE IMMUTABLE 1982-88

SECRET OF THE GARDEN MYTH 1988

THOUGHT PARALYZED BY INTUITION 2016-17 THE REDEMPTION OF INTUITION 1988-89

THE FITFUL SLEEP OF UNCERTAINTY 1989-90 DIGRESSIONS ALONG THE DECISIVE PATH 2016-17

CONFUSED RELIC MADE FROM THE BONES OF RESISTANCE 1999-2006

THE MYTH OF ENDLESS DESIRE 2000-02

THE GRADUAL TRANSFORMATION OF DETERMINATION 1992-95

QUESTIONABLE VIRTUES - A TALE OF OBLIGATION 1997-98

THE INHERENT PRICE OF TEMPTATION 1995-2012 THE ACCIDENTAL IMITATION OF ILLUSION 1996

THE SEARCH FOR HERESY 2000 SPONTANEOUS MYTHICAL DEVICE 2000

MUSIC OF THE WOUNDED MYSTIC 2001-02

THE ANGUISH OF TRANSFORMATION 2002-03

THE IRRESISTIBLE RENEWAL OF CONTRADICTION 2002-03

IMPROVISATIONAL DEVICE FOR TRAPPING SPIRITS 2000-02

THE IRRECONCILABLE MYSTERY OF SELF-INDULGENCE 1999

FUNDAMENTAL CONDITIONS 2000

THE CONTRADICTIONS OF MEMORY- MENACING POSSIBILITIES 1990-96

THE CONTRADICTIONS OF MEMORY - DILEMMAS OF EVOLUTION 1990-95

THE CONTRADICTIONS OF MEMORY - DARK INFLECTION 1990-97

THE CONTRADICTIONS OF MEMORY - THEORETICAL MISALLIANCE 1990-00

WORKS IN THE EXHIBITION

SCULPTURES

1. DARK SCIENCE - A MYSTERY OF FACTS smoked earthenware, acrylic on wood, metal 43” H. 20” W. 7” D. 1980 Collection of Jane and Charles Randall, San Antonio

2. THE CERTAINTY OF DOUBT acrylic on wood, smoked earthenware, fiber, metal, antler 27” H. 13” W. 8” D. 1981

3. THE ASTONISHMENT OF THE BLIND acrylic on wood 24” H. 14” W. 8” D. 1981

4. THOUGHT PARALYZED BY INDIFFERENCE acrylic on wood, metal, concrete 26” H. 11” W. 9” D. 1983 Collection of Toni Potts, Houston

5. THE IMMUTABLE AGE - A TALE OF CHANGE acrylic on wood, beads 22” H. 6” W. 3” D. 1984 Collection of Kathy Bailey, San Antonio

6. THE IRREGULAR PARALLEL - A FABLE FOR BELIEVERS acrylic on wood, smoked earthenware 60” H. 9” W. 9” D. 1983-84 Collection of Mrs. Fredrick Erck, San Antonio

7. DEVICE FOR CLASSIFYING TRUTH wood, metal 35” H. 9 ½” W. 9 ½” D. 1985 Collection of Rebecca Andujar, San Antonio

8. PREMONITION OF THE ETERNAL wood, acrylic on wood 23” H. 11” W. 10” D. 1988 Collection of Chuck and Denise Maurer, Wimberley

9. NIGHT DANCE - THE SURRENDER OF CONSCIOUSNESS wood, acrylic on wood 28” H. 21” W. 14” D. 1988 Collection of Jonathan Marcus and Shannon Christopher, Dallas

10. ANONYMOUS PRIVILEGE wood, acrylic on wood, beads 10” H. 24” W. 5½” D. 1981-88

11. SECRET OF THE GARDEN MYTH acrylic on wood and earthenware, beads, metal, shell 33” H. 8” W. 8” D. 1988 Collection of Barbara and Harold Wood, San Antonio

12. THE PAINFUL EVOLUTION OF THE IMMUTABLE acrylic on wood 47” H. 18” W. 12” D. 1982-88 Collection of Georgia and Christopher Erck, San Antonio

13. THE REDEMPTION OF INTUITION wood 30” H. 7½” W. 3” D. 1988-89 Collection of Diana Roberts, San Antonio

14. THE FITFUL SLEEP OF UNCERTAINTY ink and metal on wood, metal 34” H. 8” W. 8” D. 1989-90

15. PERPETUAL ASPIRATION wood, ink on wood, earthenware, fiber 24” H. 27” W. 9” D. 1992

16. THE INVENTOR OF PLEASURE wood, ink on wood, antler 47” H. 14” W. 13” D 1992

17. MYSTIC APPARITION - THE SURRENDER OF CONSCIOUSNESS acrylic on wood, wood, metal, beads 38” H. 17” W. 10” D. 1992

18. THE ETERNAL RELATIONSHIP - HIDDEN DAMAGE wood, acrylic on wood and plywood, antler, fiber 33’’ H. 13½’’ W. 8’’ D. 1993-94

19. THE GRADUAL TRANSFORMATION OF DETERMINATION wood, acrylic on wood 46” H. 18” W. 17” D. 1992-95

20. THE CONTRADICTIONS OF MEMORY - DILEMMAS OF EVOLUTION wood, ink and acrylic on wood, metal 15” H. 20” W. 3” D. 1990-95

21. THE CONTRADICTIONS OF MEMORY- MENACING POSSIBILITIES wood, acrylic on wood, beads 17½’’ H. 20’’ W. 6’’ D. 1990-96

22. THE ACCIDENTAL IMITATION OF ILLUSION wood 30” H. 7” W. 7” D. 1996

23. THE UNCONTROLLABLE PRESENCE OF NIGHT MEMORIES acrylic and ink on wood, metal, wood 33” H. 22” W. 10” D. 1996

24. THE INDECIPHERABLE ILLUSTRATION OF CLARITY acrylic on wood and concrete, wood, beads 20½” H. 13” W. 7” D. 1996

25. THE DUPLICITY OF DESIRE wood, antler, beads 25½” H. 11” W. 6” D. 1996

26. THE CONTRADICTIONS OF MEMORY - DARK INFLECTION wood, acrylic and ink on wood, bamboo, beads 19” H. 20” W. 3½” D. 1990-97

27. THE INSTINCTIVE AND DECISIVE MOMENT acrylic on wood, antler, fiber 36” H. 26” W. 14” D. 1997

28. QUESTIONABLE VIRTUES - A TALE OF OBLIGATION acrylic on wood and earthenware, metal, beads, bone 39½” H. 19” W. 17” D. 1997-98

29. A DEADLY MODICUM OF ACCEPTANCE wood, acrylic and ink on wood, fiber 20½” H. 17½” W. 5½” D. 1999

30. THE IRRECONCILABLE MYSTERY OF SELF-INDULGENCE wood, acrylic and ink on wood, fiber 44” H. 26” W. 20” D. 1999

31. THE CONTRADICTIONS OF MEMORY - THEORETICAL MISALLIANCE wood, acrylic and ink on wood, metal 19” H. 20” W. 3½” D. 1990-00

32. POSITIVE ATTRACTION wood, acrylic and ink on wood, metal 27” H. 7” W. 6½” D. 1999-00

33. THE SEARCH FOR HERESY wood, acrylic and ink on wood, metal, fiber 19” H. 5” W. 4” D 2000

34. THE AUSPICIOUS ARRIVAL OF EVENTUALITY acrylic and ink on wood, wood, beads 19” H. 18” W. 6” D. 1999-00

35. FUNDAMENTAL CONDITIONS wood, metal, fiber 25” H. 12” W. 8” D. 2000

36. SPONTANEOUS MYTHICAL DEVICE wood, ink on wood, acrylic on concrete 34” H. 10” W. 9” D. 2000

37. THE SELF-INFLICTED MYSTERY wood 26” H. 15” W. 10” D. 2001

38. RECIPROCAL ECSTASY wood, ink and acrylic on wood, metal 31” H. 27” W. 9” D. 2001

39. MUSIC OF THE WOUNDED MYSTIC acrylic and ink on wood, metal 22” H. 8” W. 7½” D. 2001-02

40. THE BLIND SEARCH FOR DESIRE acrylic and ink on wood, acrylic on earthenware 26” H. 13” W. 5” D. 2001-02

41. APPARITION AT THE MYSTICAL DWELLING PLACE wood, acrylic and ink on wood, antler, bone 42” H. 12” W. 9” D. 2001-02

42. IMPROVISATIONAL DEVICE FOR TRAPPING SPIRITS wood, acrylic and ink on wood, antler, fiber 40” H. 12” W. 8” D. 2000-02

43. THE MYTH OF ENDLESS DESIRE wood, acrylic and ink on wood, fiber, antler, horn 44” H. 21” W. 21” D. 2000-02

44. SECRET GRATIFICATION wood 20” H. 9½” W. 5” D. 2002

45. THE ANGUISH OF TRANSFORMATION wood, acrylic and ink on wood, antler, fiber 41½” H. 18” W. 16” D. 2002-03

46. THE IRRESISTIBLE RENEWAL OF CONTRADICTION wood, acrylic and ink on wood, lobster claw, fiber 21” H. 9” W. 3” D. 2002-03

47. THE INDISTINGUISHABLE PATH OF ALTERNATE FAITH acrylic on wood and plywood, fiber, metal, shells 29” H. 16” W. 12” D. 2002-03

48. THE DREAM OF THE MARTYRS wood, acrylic and ink on wood, fiber, beads, teeth 31½” H. 16½” W. 4½” D. 2002-04

49. SUBLIMINAL GAME OF REPETITION wood, acrylic on earthenware and wood, earthenware, fiber 19” H. 9” W. 6½” D. 1997-05 Collection of Amy Stieren Smiley and Chase Smiley, San Antonio

50. CONFUSED RELIC MADE FROM THE BONES OF RESISTANCE wood, acrylic and ink on wood, metal 56½” H. 18” W. 17” D. 1999-2006

51. THE DIALECTICAL QUESTION OF IDENTITY wood, acrylic and ink on wood, acrylic on plywood, beads 29” H. 12” W. 12” D. 2004-06

52. THE REDEMPTION OF ECSTASY wood, acrylic and ink on wood 28½” H. 16” W. 10” D. 2004-08

53. SUPERSTITIOUS CONTRIVANCE wood, antler 17½” H. 8” W. 4” D. 2008

54. THE MIRACLE OF TEMPTATION wood, acrylic and ink on wood and concrete, metal, bone, seed 28” H. 9” W. 8” D. 2004-08.

55. FRAGILE MONUMENT TO THE DISSOLUTION OF NIGHT MEMORIES wood, acrylic and ink on wood, fiber 38½” H. 19” W. 6” D. 2004-08

56. THE INHERENT PRICE OF TEMPTATION wood, acrylic on earthenware, antler, beads 37½” H. 7” W. 6½” D. 1995-2012

57. THE SELF-SELECTING HYPOTHESIS acrylic on wood and earthenware, fiber, metal 45” H. 20” W. 14” D. 2009-13

58. THE ENDLESS DREAM OF THE BLIND HUNTER wood, acrylic on wood, fiber 35” H. 13” W. 6½” D. 2004-13

59. DELUSIONS OF INSTABILITY wood, acrylic and ink on wood, antler, metal 29” H. 29” W. 11” D. 2014

60. THE UNKNOWABLE HISTORY OF TRUTH wood, acrylic on wood and earthenware, fiber 51” H. 24” W. 14” D. 2014

61. IN THE MIST OF IMPROBABLE TRUTH wood, acrylic and ink on wood, acrylic on earthenware 39½” H. 16” W. 10” D. 2013-14 Collection of Maria Fatima Winsborough, San Antonio

62. METAPHORICAL RELIC FROM THE HAUNTED LAND wood, acrylic on earthenware and wood, antler, metal 54½” H. 25½” W. 11” D. 2012-16 Collection of Merry Jo and Palmer Schooley, Houston

63. THE CATHARSIS OF BLIND NEGOTIATION wood, acrylic on wood and earthenware 28½” H. 22½” W. 6” D. 2012-17

64. THOUGHT PARALYZED BY INTUITION wood 34” H. 4½” W. 4” D. 2016-17

65. DIGRESSIONS ALONG THE DECISIVE PATH wood, acrylic and ink on wood, metal, beads, lobster claw 20” H. 4” W. 2½” D. 2016-17 Collection of Diana Roberts, San Antonio

WALL PIECES

1. THE PLAGUE OF CONFIDENCE acrylic on wood 12” H. 12” W. 1983

2. THE UNCERTAINTY OF PRIVATE WISDOM acrylic on wood, metal 49” H. 34” W. 1984-87 Collection of Rebecca Andujar, San Antonio

3. THE LOGIC OF IMPULSE acrylic on wood, metal, fiber, beads 31” H. 40” W. 1988

4. THE PAINLESS DEATH OF SLEEP wood, metal 21” H. 21” W. 1984-89

5. THE CONFUSED DISCOVERY OF DARK HUMOR wood, metal, beads 33” H. 24” W. 12” D. 1989-90

6. THE SPONTANEOUS AND VIOLENT MEMORY OF DEATH wood, metal 36” H. 13½” W. 10” D. 1983-90

7. THE MYSTERIOUS CYCLE OF REVENGE acrylic on plywood and wood, metal, wood, horn, fiber 48½” H. 27” W. 13” D. 1991-92

8. THE INCONGRUOUS HARMONY OF IMPROVISATION AND CHANCE acrylic and ink on wood, metal, bone, fiber 25” H. 55½” W. 7” D. 1994-95

9. THE DEADLY GAME OF ADAPTIVE TRUTH acrylic and ink on wood, wood, fiber 13” H. 34½” W. 8” D. 2000-01

10. EXTREME COINCIDENCE wood, acrylic and ink on wood 30” H. 13½” W. 7½” D. 2004-05

Department of Art Hooper-Schaefer Fine Arts Center

60 Baylor Ave. Waco, Texas 76706

Mailing Address: One Bear Place #97263 Waco, Texas 76798-7263 Phone: 254-710-1867

All events are free and open to the public.

www.baylor.edu/martinmusseum

Museum programs are funded in part by the generous support of the Martin Museum Art Angels Endowed Fund, the Sue and Ted Getterman Endowed Fund, and the Virginia Webb Endowed Fund.

PERPETUAL ASPIRATION 1992