greg patch

2012-02-10T20:08:00.000-05:00

digital ©Greg Patch

"a land to stand on"

2012-02-09T15:18:00.000-05:00

"a land to stand on"

the butcher block paper will be removed once the fronds are painted and become material for another work(s). the fronds draw the height at about 42" and the Mahogany board creates a width of 60".
a mixed medium piece with Beeswax and natural pigments, Mahogany/tung oil and Palm sp. leaf (looking for id), recycled screws and several drill bits.
the Beeswax is from our troubled bee populations, the Mahogony I liberated from my landlord's, (thank's Darren!), and my small stack of various pieces of wood and the Palm fronds were trimmed as dying lower fronds last month from a couple trees in the back yard.

screw lines drawn

2012-02-08T15:44:00.000-05:00

2012-02-06T17:28:00.000-05:00

bolt ©Greg Patch

some new lay out

2012-02-05T12:47:00.000-05:00

2012-02-02T15:22:00.001-05:00

the cardboard is 1" thick and light for this work. I love this cardboard! the other inch is with folds of paper and tape.

2012-02-02T10:57:00.000-05:00

35" x 26" x 2"

Cheesecloth Grid 5

2012-02-01T13:37:00.001-05:00

Cheesecloth Grid 5 12" x 16" x 1" natural earth pigment & og cheese cloth on Khadi paper

2012-01-30T08:40:00.002-05:00

morning leaf light

2012-01-28T09:46:00.000-05:00

morning leaf light digital ©Greg Patch

"thinking" I was taking a shot of the reflections of leaf light this morning

2012-01-27T10:47:00.000-05:00

2012-01-26T09:09:00.000-05:00

paper 28" x 20" x 5"

crossroads

2012-01-25T12:14:00.001-05:00

crossroads 30" x 30"

ingredients:

recycleds;

aluminum foil

cardboard box

pressboard box

rusted metal pareidolia

screws

table top

thumb tacks

various paper

branch, vine and leaf

hemp string

natural earth pigment

og cheesecloth

white glue

2012-01-24T10:57:00.001-05:00

32" x 25"

quote day

2012-01-23T01:01:00.000-05:00

"The essence of warriorship, or the essence of human bravery,

is refusing to give up on anyone or anything."

~ Chögyam Trungpa

2012 Press Release

2012-01-22T08:00:00.000-05:00

WebhGround 1 16" x 24" Beeswax and natural pigments

SHOWCASE OF LATEST ART WORK AND SHOWS FROM GREG PATCH

JANUARY 2012- Greg Patch was introduced to art during the 60’s era of anti-establishment and high ideals. Studying in New Mexico and New York Greg’s work evolved through a web of inquisitive explorations with the world surrounding him and with the time and space through traditional landscape painting and social “happenings”. Greg Patch is an artist whose work has continued to evolve; starting with his charcoal sketches and morphing abstract expressionistic landscapes and figure studies. In his work the artist continues to play with texture, shape, line and color, as well as with the relationship they hold with one another. He melds alternative healing practices with using non-toxic and recycled material with abstract expressionism roots. The artist has woven techniques to express rich textures while expressing socio-environmental statements in his work and the mediums he chooses.

In a series including WebhGround 1 and 3, Greg Patch makes culturally connected gestures with different mediums of pigment and papers. Mr. Patch used Papel de Amante, a non-paper made by the Atomi/Otami mountain people of Central Mexico and Khadi paper, made in SW India from recycled cotton rags. With geomantic connections and uniquely combining two seemingly different cultural heritages, both Webh 1 and 3 examine connections and communications using the grid, color and texture. Webh 1 and 3 colorfully induce a meditative trance like state which Greg expresses through his experiences working in alternative healing modalities. Greg looks to inspire and catalyze the viewer by melding cultures and creating conversational pieces that conjure social discussion and insight.

WebhGround 3 16" x 24" Beeswax and natural pigment

Patch’s cultural and environmental statements appear throughout WebhGround 1 and 3. Patch's work implies a connection between the individual and the greater consciousness by inviting the viewer’s individual interpretation of these small works seen with universal expansiveness . The artist’s use of materials as subject matter for discussion and natural beeswax as his medium create layered discoveries throughout the 9-piece series. The artist states “...the connecting between all that is. Within the windows of the grid are the individuality and contrasting aspects of each that is; couple relationships, global communities relationships and the inner dynamic of each of me/us. It can represent philosophies, religions, politics and human or non-human entities:"

The artist’s dedication to non-toxic materials in his work is integral to his creative expression. In his WebGround Series he uses Stockmar Crayons, a natural beeswax from Germany based on the philosophies of Goethe and Rudolf Steiner. His most recent collections unite his vision of color and line with his strong values of environmental preservation while showcasing delicate gestures of texture.

In his early experiences working for sculptors Willard Boepple and Robert Schuler, Patch was influenced by the texture, shape and diversity of these internationally acclaimed artist's work. Influences of alternative culture, Sacred Healing Arts and the study of indigenous cultures the artist accomplishes a melding of 1960’s idealism with traditional and futuristic science. In his work Patch explores social movements with a naturalistic and simple style and method. Greg Patch continues to integrate and express movement in space with texture and his medium, subject, approach and holistic lifestyle.

WebhGround 3 was included in “State of the Art/Art of the State” from May 2011-Oct 2011 at The Cameron Museum in Wilmington, North Carolina. The shows mission: to bring artists and established curators into discussion. Two of the featured curators were Susan Davidson of the Guggenheim and Nicholas Gullinan of The Tate in London. Greg’s work was included in “Natural Selection 2.0 Group Show” at Dakota State University, Karl E. Mundt Gallery Madison, South Dakota from Feb. 1 - Apr 1. 2011. The international exhibition of artists exploring the natural world through its raw materials was produced by artist/curator Destry Sparks. Other shows include "Edges and Curves Nothing in Between” a Benefit for the Haggus Society in Highland Park, CA., "Imprompt2" at the Carrack Modern Art, in Durham, NC., “Pop Up Art Group Show” at Organic Yoga, Wilmington, NC., "Cumulonimbus: a sky exhibit" at Projekte, Wilmington, NC. and "Wind, Sea & Water" at ArtExposure, Hampstead, NC.

The artist resides in Wilmington, North Carolina. He is involved with whole world social community movements and shows his work nationally and locally.

Greg Patch’s work is available online for viewing @ www.gregpatchart.com. He is currently represented and assisted by his daughter Caitlyn Patch.

"crossroads" [unfinished closeup]

2012-01-21T16:10:00.000-05:00

Travelin Collective Art Peace

2012-01-20T06:06:00.002-05:00

https://www.facebook.com/groups/308495745831898/

FB page for a collaborative project of artists Traveling collaborative art works using materials from the earth or recycled materials that clutter our environment and that can be harmoniously lived & worked without damaging health effects. Those involved in the project make their mark and pass it along to another. Please upload a photo, list your materials and sign your name and location leaving space for the others, including dogs, canaries, rocks, and etc. before you send it on. Thanks

from the piece i received from Wilmington artist Michelle Connolly... Michelle used earth pigment from Bald Head Island, NC & charcoal washed up on the shore while residing at No Boundaries Art Colony this year.

placed my marks using og cheese cloth and earth pigments i get from earthpigments.com. it awaits its destination...

"crossroads" cont'd

2012-01-19T09:04:00.000-05:00

construction of the work form is generally completed. here the early layering of color is splattered, dripped and poured upon the surface. crossroads is 30" x 30".

Censoring censorship is censorship...

2012-01-18T07:50:00.001-05:00

...a homeopathic?

Leonardo Drew

2012-01-17T10:19:00.000-05:00

http://www.leonardodrew.com/

"Number 45
1995
fabric, wood, rust, feathers
188 x 444 x 5 inches"

- from "World Art" mag http://www.leonardodrew.com/PDF/WorldArt.pdf

"The fact that he scavenges his materials from streets and urban lots does not detract from his works' handsomeness; indeed, his highly tactile (and still evolving) sculptural language is remarkable for its sensitivity to his materials' physical expressiveness and their cultural implications.

But Drew also maintains an ambitious breadth of vision. His grand, abstract works allude to both black American history and Western art history- and, moreover, integrate them seamlessly.Drawing from his love of cast-off materials - among which are such loaded or symbolically suggestive substances as cotton rust sacks rope, feathers and dead animals - Drew creates lyrical allegories of decay and regeneration."

quote day

2012-01-16T09:54:00.002-05:00

I think Reverand King would agree with General Patton on this. Peace to all. :)
"Never tell people how to do things. Tell them what to do and they will surprise you with their ingenuity." - General Patton (popped up on twitter this morning) Would Patton have been as effective in leading without weaponry is moot.

in the works... 3

2012-01-15T08:31:00.000-05:00

"in the works... 3" measures the process of this piece as it is nearly ready for mounting on a table top or other large surface that isn't apparent yet....

"crossroads" con structing

2012-01-14T09:20:00.000-05:00

a lot of work i'm preparing now is slated for showing this Spring at the Chapel Hill (NC) City Hall
as part of their Public Arts program.

life is good waiting for moss to grow

2012-01-13T11:59:00.000-05:00

life is good waiting for moss to grow

mixed natural & recycled materials

45" x 23 1/2"

walking softly

2012-01-12T09:08:00.000-05:00

walking softly Earth pigment on Khadi paper 12" x 16"

Cheesecloth Grid #4

2012-01-11T09:03:00.002-05:00

Cheesecloth Grid #4
16" x 12"
og cotton cheese cloth, natural earth pigment & white glue on Khadi paper

Collaborative

2012-01-10T11:12:00.000-05:00

one piece I received from Michelle Connolly (last Friday entry)...

went like this using earth pigment, recycled paper, cassein & white glue...

...and will go on to Monica Marsh in South Pasadena, CA

Full Moon day in Cancer 18˚

2012-01-09T03:12:00.000-05:00

Reflection ©Greg Patch

Saturday's 70+˚s had me at Greenfield Lake in Wilmington, NC with a grounding meditation and appreciating the beauty of my surroundings, reflecting with nature, appreciating my connection with my family and my ancestry who drew me to the Southeast and my experiences of living in the "Port City" for the past 10 months.
Many Blessings on this Full Moon day in Cancer 18˚. Here is an astrology read I found last evening I hope you enJoy; http://www.mysticmamma.com/full-moon-on-january-9th-2012-in-cancer/
enThanks All.

we are artists & we all will be artists

2012-01-08T07:36:00.000-05:00

http://thecreatorsproject.com/creators/choi-jeong-hwa

Ginger rhizome Zingiber officinale

2012-01-07T09:06:00.000-05:00

Ginger rhizome Zingiber officinale ©Greg Patch

from Henriette's Herbal, one of the largest and oldest herbal information sites on the internet; http://www.henriettesherbal.com/eclectic/kings/zingiber.html

"The rhizome of Zingiber officinale, Roscoe"—(U. S. P.) (Amomum Zingiber, Linné).
Nat. Ord.—Scitamineae.
ILLUSTRATION: Bentley and Trimen, Med. Plants, 270.

Botanical Source.—The ginger plant has a perennial, tuberous root or rhizome; the stems are erect, oblique, round, annual, and invested by the smooth sheaths of the leaves, 2 or 3 feet in height. The leaves are subsessile, on long sheaths, alternate, lanceolate, linear, acute, smooth above and nearly so beneath, bifarious, 4 to 6 inches long by 1 inch broad; the sheaths smooth and crowned with a bifid ligula. Scapes radical, solitary, a little removed from the stems, 6 to 12 inches high, enveloped in a few obtuse sheaths, the uppermost of which end in tolerably long leaves, and terminate in oblong spikes, about the size of the thumb. Exterior bracts imbricated, 1-flowered, obovate, smooth, membranous at the edge, faintly striated lengthwise; interior enveloping the ovary, calyx, and the greater part of the tube of the corolla. The flowers are small, and of a dingy-yellow color. Calyx tubular, opening on one side, 3-toothed; corolla with a double limb, outer of three, nearly equal, oblong segments; inner a 3-lobed lip, of a dark-purple color. Sterile stamens subulate; filament short. Anther oblong, double, crowned with a long, curved, tapering, grooved horn. Ovary oval, 3-celled, with many ovules in each; style filiform; stigma funnel-shaped, ciliate, and lodged just under the apex of the horn of the anther (L.).

History and Description.—The native country of ginger is unknown, though supposed to be Asia. It is cultivated in the tropical regions of Asia and America, and also at Sierra Leone, on the west African coast. The flowers and stalks have a fragrant odor, which is especially developed when they are rubbed or bruised. The fresh root is perennial, firm, knotted, of a compressed, roundish form, beset with transverse rugae, covered with ash-colored bark, partly of a purplish tinge, and sends off many long fibers and offsets. The internal substance of the younger roots is softish, fleshy, and greenish; of the older it is compact, fibrous, whitish, and, when powdered, has a yellowish appearance (T.). The root forms the ginger of commerce, and is gathered from December to March, or soon after the decay of the stalks. The growth of ginger exhausts the soil to such an extent that, in Jamaica, each succeeding season a new field is planted, for which the ground is supplied by cutting down the forests and burning the timber. The second year's growth on the same field yields an inferior product (ratoon or blue ginger). Yet, by judicious treatment and alternation with other crops (e.g., arrow root), ginger can be grown in the same field for many years (see Win. Fawcett, Amer. Jour. Pharm., 1894, pp. 184 and 593). The rhizomes, dug up, washed, and scraped, e. g., deprived of their epidermis, and then dried in the sun and open air, are termed White ginger (uncoated or scraped ginger). When picked, cleaned, scalded gradually in boiling water, and then dried in the sun, they form the Block ginger (coated, unscraped) of commerce. The White ginger is the official kind, and the best grade is that grown in Jamaica (Jamaica ginger). The U. S. P. describes it as being "about 5 to 10 Cm. (2 to 4 inches) long, 10 to 15 Mm. (2/5 to 3/5 inch) broad, and 4 to 8 Mm. (1/6 to 1/3 inch) thick, flattish, on one side lobed or clavately branched; deprived of the corky layer; pale-buff colored, striate, breaking with a mealy, rather fibrous fracture, showing numerous small, scattered resin-cells and fibrovascular bundles, the latter enclosed by a nucleus sheath; agreeably aromatic, and of a pungent and warm taste"—(U. S. P.). Black gingers are the African, the East Indian, and some grades of Cochin ginger. White Cochin ginger is next in quality to Jamaica ginger. Green ginger is sometimes imported from Jamaica; it consists of soft and juicy rhizomes with buds, which have merely been washed after collection. Preserved ginger, or succades, consist of young rhizomes preserved in syrup. Large quantities are sent to England from the East. Bleaching the ginger, by means of chlorinated lime, is often practiced, also whitewashing the ginger with diluted milk of lime. This procedure, however, does not improve the article. Age, and especially exposure, impair the active properties. Water, proof-spirit, and alcohol take up the virtues of ginger. The best ginger is that which cuts pale, but bright; its quality, however, must be judged by its color, odor, taste, heaviness, and freedom from perforation by insects. (For interesting details regarding the cultivation, etc., of the various commercial grades of ginger, see P. L. Simmonds, Amer. Jour. Pharm., 1891, p. 528; as to Jamaica ginger, see W. Fawcett [loc. cit.], and F. B. Kilmer, "In the Land of Ginger—Jamaica," Amer. Jour. Pharm., 1898, p. 65.)

Chemical Composition.—The aroma of ginger resides in a volatile oil (oil of ginger); the rhizome yields from 2 to 3 per cent. It is thickish, greenish-yellow, bland to the taste, and has the specific gravity of 0.875 to 0.885. Its lower fractions contain the hydrocarbons dextro-camphene and phellandrene; the bulk of the oil boils between 256° and 266° C. (492.8° and 510.8° F.) (Gildemeister and Hoffmann, Die Aetherischen Oele, 1899, p. 406). The pungency of ginger is due to an oleoresin, which may be extracted, together with the volatile oil, by ether, alcohol, acetone (see T. H. W. Idries, Amer. Jour. Pharm., 1898, p. 466), and other solvents. Ginger was carefully investigated by J. C. Thresh (Pharm. Jour. Trans., Vol. X, 1879-80, pp. 171 and 191; and Vol. XII, 1881-82, pp. 243 and 721). The oleoresin, abstracted by ether, contained volatile oil, inert neutral resin, inert acid resins, fat, and the pungent, active principle, gingerol (0.6 to 1.4 per cent), a viscid, odorless liquid of neutral reaction, non-glucosidal, soluble in diluted and strong alcohol, benzol, volatile oils, carbon disulphide, caustic potassa and ammonia, and glacial acetic acid; very slightly soluble in petroleum ether. The ether-insoluble part of ginger contained mucilage, starch (13 to 18 per cent), a trace of alkaloid, etc., and left, upon incineration, 3.5 to 5 per cent of ash. R. G. Davis (Amer. Jour. Pharm., 1895, p. 520) finds the ash to vary from 3.6 to 6.5 per cent. According to Jones (Archiv der Pharm., 1886, p. 769, from The Analyst, 1886), the quantity of starch in ginger is much greater than had hitherto been believed; he found 52.92 per cent. The amount of oleoresin obtainable from different grades of ginger, is not necessarily a criterion of the quality of the article. Dr. S. J. Riegel (Amer. Jour. Pharm., 1891, p. 533) found Jamaica ginger to yield 5 per cent of oleoresin, obtainable by alcohol, ether, or chloroform, while the inferior East Indian ginger yielded to the same solvents 8 percent of the oleoresin. A similar conclusion was previously reached by F. M. Siggins (ibid., 1888, p. 278), as well as by Thresh, and later by W. S. Glass (ibid., 1897, p. 320). The latter author remarks that the extract from the inferior (African) variety, though larger in quantity, presents an unsightly, brown appearance. (On the examination of a ginger from Fiji, being remarkably rich in active constituents, see E. H. Gane, Pharm. Jour. Trans., Vol. XXII, 1892, p. 802.) The oleoresin of ginger represents the medicinal virtues of the drug (compare Oleoresina Zingiberis). (On chemical methods for the detection of exhausted ginger, see B. Dyer and J. F. H. Gilbard, Proc. Amer. Pharm. Assoc., 1894, p. 936; and A. H. Allen and C. G. Moore, Amer. Jour. Pharm., 1894, p. 342.)

Action, Medical Uses, and Dosage.—Ginger is stimulant, rubefacient, errhine, and sialagogue. When chewed it occasions an increased flow of saliva, and when swallowed it acts as a stimulating tonic, stomachic, and carminative, increasing the secretion of gastric juice, exalting the excitability of the alimentary muscular system, and dispelling gases accumulated in the stomach and bowels. It is much used to disguise other drugs, concealing their nausea, or preventing their tendency to cause tormina. When taken into the nostrils it causes severe sneezing. It has been used in combination with astringents or other agents, in diarrhoea and dysentery; prepared with rhubarb, in the form of cordial or syrup, few articles are more valuable in cholera morbus and cholera infantum, when there is coldness of the surface and extremities, and nausea and vomiting accompany. It is eminently useful inhabitual flatulency, atonic dyspepsia, hysteria, and enfeebled and relaxed habits, especially of old and gouty individuals; and is excellent to relievenausea, pains and cramps of the stomach and bowels, and to obviate tenesmus, and especially when those conditions are due to colds, or to the ingestion of unripe or otherwise unwholesome fruit. Ginger is occasionally of value in fevers, particularly where the salivary secretions are scanty and there is pain and movement of gases within the intestines. Here, though a stimulant, it will assist in producing sedation by re-establishing secretion and relieving the distressing gastro-intestinal annoyances. Ginger, in the form of "ginger tea," is popular and efficient as a remedy for breaking up colds, and in relieving the pangs of disordered menstruation. Combined with black-willow bark, it forms an excellent poultice to indolent ulcers; and has been used as a sialagogue to relieve paralytic affections of the tongue, toothache, and relaxed uvula. Ginger in powder, formed into a plaster with warm water, and applied on paper or cloth to the forehead, has relieved violent headache. Cakes made of ginger and molasses, with flour, etc., are very beneficial to the stomach, when eaten in moderation. Dose of ginger, in powder, from 10 to 30 grains; of the infusion, prepared by adding 1 ounce of the powdered or bruised root to a pint of boiling water, 1 or 2 fluid ounces. A large quantity of ginger, taken internally, might produce serious effects.

Specific Indications and Uses.—Loss of appetite; flatulence; borborygmus; spasmodic gastric and intestinal contractions; painful menstruation; acute colds; cool extremities; and cold surface in children's diseases.

Preparations of Ginger.—GINGER WINE. A good ginger wine may be made by boiling 1/2 pound of the best ginger, bruised, in 6 gallons of water, for 1/2 hour, and then filtering the decoction. Place the decoction in a demijohn, and add to it 6 pounds of raisins, cut in two, and the thin rinds of 5 lemons. Let this stand until vinous fermentation has ensued, then filter, add 1 pint of French brandy, and 1 1/2 ounces of good isinglass previously dissolved in some of the wine. Place this in a strong vessel, cork it well and securely, and keep it for 6 months in a cool cellar (the longer the better); then carefully remove the wine from any sediment which may have formed, and bottle it for use. It improves by age.

GINGER BEER.—A good ginger beer may be prepared as follows: Take of white sugar, 2 pounds; lemon juice or cream of tartar, 14 drachms; honey, 121/2 drachms; bruised ginger, 13 drachms; water, 2 gallons. Boil the ginger in 2 pints of the water for 3 hour; add the sugar, lemon juice, and honey, with the remainder of the water, and strain; when cold, add the white of an egg, and 24 minims of essence of lemon; let it stand for 4 days, and then bottle.

ETHEREAL EXTRACT OF GINGER.—Ethereal extract of ginger is made by placing 4 ounces of ginger in 6 ounces of ether, in a percolator; evaporate the percolate by means of a water-bath; 1 part of this is equivalent to 16 parts of ginger.

Related Drugs.—ZERUMBET ROOT. This drug is the tuberous rhizome of Zingiber Zerumbet, Roscoe (Amomum Zerumbet, Linné). The root is flattish and spongy, of a yellowish hue internally, with light-brown bundles of fibro-vascular structure, and brownish externally. The odor is pleasant, and the taste, besides being bitter, resembles somewhat that of ginger. It is indigenous to Java.

CASSUMUNAR ROOT.—The product of Zingiber Cassumunar, Roxburgh, a native of India. This and the preceding root have been confounded with each other. Cassumunar root is about 2 inches broad, compressed, jointed, and beset with white tubers, and many fleshy, white radicles. Externally, it is pale-brown and scaly, and ligneous and yellow within. Its taste is hot, pungent, and spicy, and its odor camphoraceous. Neither root is now in commerce.

Ɣ ZEDOARIA, Zedoary.—The rhizomes of Curcuma Zedoaria, Roscoe (Amomum Zedoaria, Willdenow), and Curcuma Zerumbet, Roxburgh (Amomum Zerumbet, Koenig), both of the natural order Scitamineae, furnish respectively the Radix zedoariae longae, and Radix zedoariae rotundae, as formerly named. Both plants are indigenous to India and the East Indies. The ovate, or pyriform tuberous rhizome, is from 14 to 2 inches long, and is generally cut, for the purpose of drying, into transverse, and occasionally into longitudinal sections. Zedoary is found in commerce, usually in the form of discs, almost circular, from 1/6 to 2/5 inch in thickness, and from 1/2 to 1 1/2 inches in diameter. Externally, grayish-brown; internally, grayish. The endoderm near the edge is darker in color. Throughout the interior with the woody bundles are seen many orange-colored small resin cells. The discs are hard and compact, break with a short, mealy, or wax-like fracture, have a distinctive aromatic odor, and a pungent, bitterish, camphoraceous, aromatic taste. They contain starch granules (13 per cent) not unlike those of ginger; a soft, pungent resin (3 per cent); mucilage (9 per cent); bitter extractive; and a camphoraceous, volatile oil which may be obtained by distilling with water. The round zedoary, recognized by the French Codex, is ascribed to Curcuma aromatica of Roscoe, and is said to furnish the yellow discs sometimes found in the commercial zedoaria. Zedoary, though milder and less acrid, has properties very similar to those of ginger. It is emploved chiefly as a carminative and stomachic. The dose of the powder is 5 to 30 grains; of the infusion (℥ss to wine or water Oss), 2 to 4 fluid drachms.

King's American Dispensatory, 1898, was written by Harvey Wickes Felter, M.D., and John Uri Lloyd, Phr. M., Ph. D.

collaboratives 1/6/12

2012-01-06T17:23:00.002-05:00

just picked up these two pieces from Wilmington artist Michelle Connolly this afternoon who's initiating a new collaborative...

Michelle used charcoal washed up on the beach and earth pigment on paper from

the island during her residence this fall at Bald Head, NC's No Boundaries Art Colony.

in the works... 2

2012-01-05T11:59:00.000-05:00

in the works...

2012-01-04T06:19:00.000-05:00

quote day

2012-01-03T07:13:00.000-05:00

"The ways of the mind are ancient, but you are timeless" - Mooji

Inventory stacking up to the ceiling...

2012-01-02T09:26:00.000-05:00

As my inventory reaches for the ceiling I'm again assessing my personal space, storage costs and particular needs in storage of my art work.
There are relative's and friends attics (heat), basements (dampness) and wall and yard space (happy art). There are local climate control storage facilities, warehouses, and there are high end fine art museum and gallery storage facilities like;
http://www.artexfas.com/services/storage.html
http://www.fineartship.com/storage/?gclid=COyL35G_sa0CFQ5T7AodQUtwpA
http://www.diplomaframe.com/blog/tabid/178/entryid/278/guide-to-properly-storing-your-art.aspx

Happy New Year/Month/Day/Moment All!, inner and outer (as in belly button - touch it...)

2012-01-01T07:24:00.001-05:00

brick wave grid

2011-12-31T08:31:00.003-05:00

as the old year enfolds, spiraling into the new year/month/day/moment

(sequence read/view bottom to top)

all images ©Greg Patch

"...a proc(gr)essing transformation..."

2011-12-30T17:14:00.000-05:00

is at Progressive Gardens, 6005 Oleander Dr in Wilmington, NC. Please stop by and collaborate by contributing your artistic expression (yeah, like the heart, we all have it!). While there you can sign up for CSA/Community Sustainable Agriculture or get your self a new Vortex Brewer for the new year...

Our spoken/drawn/written/etc words will be imprinted into the land and travel the ley lines of the earth grid, delivering our intentions around the globe and into the universe. These spoken intentions will travel within, along the grid of meridians within our bodies and awaken and reinforce our cellular memory, reinforcing our commitment to our new evolution.

Love, Peace and Co-Creativity

2011-12-29T07:36:00.000-05:00

David Abram

2011-12-28T11:31:00.000-05:00

http://www.wildethics.org/
cultural ecologist, philosopher and performance artist

David Abram at Sensory Worlds, Edinburgh

http://ecoartscotland.net/2011/12/28/david-abram-at-sensory-worlds/

John Dahlsen, environmental artist and contemporary painter

2011-12-27T14:13:00.000-05:00

http://www.johndahlsen.com/

Black Assembledge

"The initial collection of these objects, consisted of approximately 80 jumbo garden bags full of beach found litter. I first piled this collection up in my studio and soon realized the potential of a giant palette. Then I began the selections of yellow coloured plastics to make up it’s own pile in the studio, then the red, then the blues, the rope & strings, the plastic coke bottles, the thongs etc. Soon the floor of the studio did resemble a giant painters palate.

Seeing all this develop had the effect of sewing the seed, for I later had the notion of making assemblages of each of these objects once it was all sorted.
This occurred to me as a natural extension of the process I was undergoing in the studio as a painter. A whole new palette of colour and shape revealing itself to me immediately affected me; I had never seen such hues and forms before, all which enabled me to make new environmental art."

2011-12-26T17:04:00.002-05:00

Happy Christmas All!

2011-12-25T00:00:00.000-05:00

Yule Light Beings with Candle and Rosemary ©Greg Patch 2011

quote day

2011-12-24T13:04:00.003-05:00

"an eye for an eye will make us all blind" is attributed to Mahatma Gandhi... amongst many, many others I am sure.

northern lights

2011-12-23T14:49:00.003-05:00

http://climate.gi.alaska.edu/curtis/curtis.html

2011-12-22T21:02:00.000-05:00

May the Solstice Be with You

2011-12-21T22:48:00.000-05:00

2011-12-21T16:20:00.000-05:00

life is good waiting for moss to grow

2011-12-19T11:55:00.000-05:00

quote day

2011-12-18T21:39:00.000-05:00

"Time you enjoy wasting, was not wasted." John Lennon

2011-12-17T18:59:00.001-05:00

enJoy the Wholidays!

Carrack Modern Art exhibit space in Durham, NC

2011-12-16T08:19:00.000-05:00

http://durhamsculpture.org/carrack/

The Carrack Modern Art is an art exhibit space located at 111 west Parrish Street in the heart of Downtown Durham (click here for a map). The space operates solely off donations and is a free, zero-commission exhibit space for artists to take over and have solo shows, or group shows if that is their choice. The trade off is that the shows must be short, typically two weeks, and artists need to organize their own reception, parties etc… read more below!

GALLERY HOURS:2-8pm Tuesday through Friday

and every third Friday 7pm – 10pm

contact laura@thecarrack.org or john@durhamsculpture.org

FUNDRAISING DRIVE RIGHT NOW!!!

VISIT

http://www.kickstarter.com/projects/johnwendelbo/the-carracks-kickstarter

2011-12-14T09:47:00.002-05:00

"...a proc/gressing transformation..."

2011-12-13T09:53:00.000-05:00

is headed toward Copper Guinea Farm.

2011-12-12T10:12:00.002-05:00

fern digital ©Greg Patch

2011-12-11T16:43:00.000-05:00

onion ©Greg Patch

2011-12-10T07:56:00.002-05:00

cylinder 8" x 45"

Brownies

2011-12-09T08:09:00.000-05:00

Brownies digital ©Greg Patch

2011-12-08T10:20:00.001-05:00

Pencil, Incisions & Khadi papers each panel 22" x 22"

Wed nes day

2011-12-07T11:44:00.000-05:00

Nov 7 digital ©Greg Patch

2011-12-06T07:47:00.000-05:00

brick wave grid digital ©Greg Patch

all of my digital photography prints are available. please contact me at info@greenartstudio.com for details of sizes, prices and other questions you may have for me. Thanks.

a/part of new work... 4

2011-12-05T08:47:00.000-05:00

one less camera strap, a few screws and growing moss

a/part of new work... 3

2011-12-04T07:06:00.000-05:00

in gathering the moss from an old riverside industrial area along the Cape Fear River I used three guiding rules in foraging plant life; ask the plants guidance to gather at the site, gather less than 20% of a plant colonies' population and give thanks.

blend:
1 cu moss w/dirt
1 cu og yogurt
1 tbsp hemp seed protein
1/4 water

next step is waiting to see the moss grow!........

a/part of new work... 2

2011-12-03T07:23:00.000-05:00

Here I've duct taped the section where the moss garden will set on the the panel and drilled holes. The holes are to anchor the white glue I'm using to adhere the bed of brick and mortar.

I used a stone chisel and hammer to break down an old brick with mortar attached. I worked the surface within the taped area with the wet adhesive, being sure that the glue went down into the holes and creating an 1/8" bedding of adhesive to set the brick/mortar in. The cracks between I filled with the dust and smaller pieces of brick/mortar into the wet adhesive. Once the adhesive dries I'll remove any loose materials, and hopefully that won't be the whole pane as I'm really experimenting here...

Occupy Wilmington Benefit Concert and Art Auction

2011-12-02T06:24:00.001-05:00

will be contributing "infinity 4 [small works]' for the art auction

https://www.facebook.com/events/166247920140007/

Occupy Wilmington Benefit Concert and Art Auction

MUSICAL PERFORMANCES BY:

Dog's Ave.
Xclusive
Raphael Namé

Occupy Wilmington Benefit Concert and Art Auction with musical performances by local musicians and an art auction by local artists on Fri, December 9, 6pm- until. Money raised will be used to promote and fund community projects to educate awarness and increase the community's unified voice. For more information about events, education, or to get involved visit- http://occupywilmingtonnc.org/

Music will start at 6:00 PM. Fine beer and wine available for purchase.

Local musical artist, Dog's Ave. with their self described "home grown organic" sound, Xclusive giving us some great rhymes, and Raphael Namé our local Brazilizn musician will entertain us with their musical talents.

Artist still needed. Contact sarahreaves@bellsouth.net if interested.

a/part of new work...

2011-12-01T08:08:00.000-05:00

guache, cardboard, paperboard, paper bag, scrap papers and cheese cloth on Khadi paper 22" x 32"

...is a section that will be attached with recycled screws to a larger format. It will lay upon a 24" x 40", 3/4" particle board with black marbled formica veneer I recovered from the great street dumpster. There will be a 22" x 8 1/2" moss garden planted to the left of the painting. I'll be posting this process in the coming days and weeks...

found art and art found

2011-11-30T02:38:00.001-05:00

organic symbolism digital "©"Greg Patch

Art happens, there's a flow that artists' speak of that we all recognize as "that aesthetic". This wall piece has been speaking to me for months in a room where I practice yoga. A combination of time and the work of a person filling in a w/hole... or was the, or those person(s) in that flow naturally as they/he/she filled in a w/hole? In yesterdays' post Donna Hilton points out the mosaic created with blue
and red approximate 15' squares. Was this an intentional or was it a natural or a supra-natural communication that reaches that aesthete. Is this the universal language? Have we been as "stuck" by our alphabets as we have been with our religions, languages and politics? Were they originally marks of a basic universal language eventually diversified and possessed by tribes. As the separation into tribes become one (again?) and we recognize our global, or multiglobal beingness will our understanding evolve a new, or return an ancient, and/or universal alphabet. Will the circle, or spiral, remain unbroken? Is that flow a universal language that died through mankind's wish to possess it and use it to control those not in power; the masses, the laborors, the lower classes, etc.? The classically great artists speak of a control, but also of the flow of creativity as being their guide. What is this guide of aesthetic that we all appreciate. The works that sing to us, the Muses, the gifted, the ones whose art work was done thousands of years ago and still sings and will sing on in a weave of civilization...

when I posted this on FB today Connie Stanmyer replied, I SEE PI. ...

Mosaic Fields

2011-11-29T06:34:00.000-05:00

from https://www.facebook.com/permalink.php?story_fbid=280836968619909&id=100000436548654&notif_t=like

Glasshouses is a small village in Nidderdale, North Yorkshire.UK

Mosaic Fields in Yorkshire? WTF, they must be at least 15 feet squares!

Blackstone and Redstone at a guess

Glasshouses is a small village in Nidderdale, North Yorkshire, England. It lies about 1 mile south east of Pateley Bridge on the east side of

Nidderdale and has a recently rebuilt river bridge across the river Nidd.

By: Donna Hilton

Cheesecloth Grid #3

2011-11-28T07:19:00.004-05:00

Cheesecloth Grid #3
16" x 12"
og cottoncheese cloth, guache & white glue on Khadi paper

November 23

2011-11-27T07:21:00.000-05:00

November 23 8" x 11" guache & paperboard on Khadi paper

a handmade paper series

2011-11-26T03:50:00.001-05:00

Cotton fiber, Mica, turmeric & recycled dyes on Khadi paper 2011

handmade papers w/colors on Khadi paper

2011-11-25T05:43:00.000-05:00

cotton fiber handmade paper w/turmeric, earth pigments & recycled dyes, turmeric pwd & carrot pulp on Khadi paper
12" x 17"

Happy Thanks Giving; saying Thanks to the Turkey

2011-11-24T07:43:00.001-05:00

http://mdc.mo.gov/hunting-trapping/turkey/wild-turkey-life-history

Wild Turkey Life Cycle

Eastern wild turkeys are part of a group of birds that include pheasants, grouse and quail. Wild turkeys are the largest of the North American game birds with an adult male weighing 17 to 30 pounds. An adult hen will weigh from 8 to 12 pounds.

Gobblers (or toms) are identified by a reddish-blue head and neck, a long hair-like appendage known as a beard, a sharp bony spur on the lower part of each leg and black-tipped breast feathers. Hens tend to be slimmer in appearance, have a less colorful head, and have breast feathers with light-colored tips and lack spurs. A few hens will have beards, but other characteristics help to distinguish male from female.

Wild turkeys differ from domestic turkeys in color and body form. Wild turkeys tend to be slimmer and more streamlined in appearance. Tips of the tail feathers on wild turkeys ar e usually deep chocolate brown; domestic birds generally have white tips. Also, the legs of wild birds are bright pink, while the legs of domestic birds are gray or black.

Wild turkeys are susceptible to many of the diseases of domestic turkeys and chickens: fowl diphtheria, fowl typhoid, cholera, blackhead, trichomoniasis and coccidiosis. Fortunately, wild and domestic birds seldom come into contact with each other, thereby reducing the opportunity for disease to spread. Potential for the transmission of disease is a major reason why releasing domestic birds into the wild is not only discouraged, but is illegal.

In the winter, gobblers flock together and separate from hens and jakes (young males). Occasionally jakes are found with gobblers, but typically they remain with the hens until spring. In early spring, the winter flocks begin to break up and courtship and mating begin. Males travel greater distances seeking mates. Gobbling and strutting activity increases. Strutting displays are spectacular, with tail fanning and wing-dragging. Older, dominant birds do most of the breeding and one gobbler is capable of breeding with many females.

Peak time for gobbling in most years is late April. By this time most of the hens are laying eggs or incubating. The average clutch for wild turkeys is about 11 eggs and incubation takes 28 days. In Missouri, most young turkeys hatch in late May and early June.

Wild Turkey Life Cycle Timetable

ACTIVITY

Flocks break-up

Gobbling Begins: 1st peak early April

Gobbling Continues: 2nd peak late April

Courtship/mating

Hens nesting

Broods appear

Brood flocks form

Gobblers seen in small flocks

Turkey nests are often located near the edge of woods, old fields and roadsides, but can be found in almost any habitat. As soon as the last turkey has hatched, the hen leads her brood away from the nest. During the first 3 weeks of life, young turkeys (or poults) are vulnerable to cold, rainy weather and must depend on the hen for protection and warmth. In addition, foxes, coyotes, bobcats, mink or great-horned owls may prey on young turkeys.

Young turkeys grow rapidly and need a diet high in protein. For the first week, approximately 80 percent of the poult's diet consists of insects. As they grow, their diet broadens to include grass seeds, dogwood fruits, wild grapes, acorns, corn, oats and wheat.

While too young to fly, the poults roost on the ground at night and the hen roosts with them. At approximately two weeks of age, the poults fly short distances and are soon roosting in trees with the hen. By 16 weeks, the young poults are hard to distinguish from adults at a distance.

handmade papers w/colors on Khadi paper

2011-11-23T07:34:00.000-05:00