impressed with Korczak

My wife wanted to see Mount Rushmore. It was hearing and seeing the Korczak story of the Crazy Horse Monument that drove the task of "making" home. A team of 400 workers on Rushmore. The personal drilling into granite at Crazy Horse. More than doing art. It the heavy tools, logistics, planning, and sheer size of the projec. Read more here, http://crazyhorsememorial.org/about-us/carving-the-mountain/an-inside-look-at-carving-a-mountain/, accessed August 10, 2014. Photos from the Visitor Center that I visited. Part of our ten day loop through South Dakota and Nebraska.











Carefully timed series of blasts. It is remarkable. Listen to NPR, four minutes, accessed August 10, 2014.
http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=167988928&m=168417874



Also read http://wol.jw.org/en/wol/d/r1/lp-e/102002805#p9

lemteyoso

thinking about  

wounds

touch these wounds by karl marxhausen,
styrofoam, plastic, 
acrylic paint, 2000

brother in christ by karl marxhausen,
acrylic paint on wood, 
17.5 by 25.5 inches, 2005

closeup of sequence #3 
by karl marxhausen
acrylic and sand on panel, 2002

my mother in christ by karl marxhausen, 
acrylic paint on panel, 2003

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onsite  bending,  cutting,  hole punching,  mixing,  hand spreading,  twisting,  assembly,  gluing,  deciding colors,  curiosity,  wondering,  drying,  making more of it,  waiting,  reflecting,  satisfaction,  concluding

trying out proto-types yesterday

 

kraft paper, aluminum wire, fruit sack, burlap garden fabric, ground glass, enamel paint, plastic ribbon, cloth, perlite, acrylic paint, beads in 2014

trying out ideas in my studio. what will work and what will not work for lemteyoso. keeping open to HIM and the inner workings of the insects HE imagined on earth.

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mission

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tracheal tubes in bugs to breathe air

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worship Him in the making of

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lemteyoso

individual choices:
knotting 
cutting cloth strips
hole punch pattern
cloth strips through holes
gluing beads
gluing denim
gluing burlap
nylon line stitches 
tying branches and twigs
cutting plastic
gluing perlite on plastic 
enamel paint as glue agent
assembly of parts
attaching material to top branch
paint on burlap
bending aluminum wire
cutting wire length
inventing with what is provided
 

  assemblage mounted on branch. displayed. two minutes.

below: top screen.

next: lower elements.

 last: first assemblage completed.

closeups of mosaic tiles - RP marxhausen

Double click image to see enlarged.

   "My brother Paul, an engineer for UNL, and his CREW replaced mosaic tiles for my father's last mural at Jones National Bank in Seward, Nebraska. He wrote that father did all the cutting and gluing onsite, as opposed to gluing on flat panels in his studio and assembling panels like a giant puzzle. All the variables that dad had to solve on a curved wall was considerable. My brother has posted photos of segments of that mural. Click on link, it will take you to a page full of links, view as many as you want. My eyes glaze over when I see the scope of his work. But it is quite amazing, and his passion was great to see that project through.
http://reinhold.marxhausen.net/archive/JonesMural/"  Karl Marxhausen

"Yesterday was another time-travel experience for me. When Karl and I were young, it was not unusual for Marx to put us to work filling in areas of mosaic glass or raw split wood on murals he was executing. He'd set us down with jars of the Italian tiles and a tile snipper and a bottle of glue and tell us what he needed done.

So yesterday I was on a ladder with that very same tile nipper in my hands, poking through the bowls of tile that Anne had painstakingly sorted from the few remaining supplies we have, finding as close to the right color for the missing spots on the Jones mural, and snipping them to size as needed.

On a more grandiose level, the thought crossed my mind of workmen doing exactly the same thing centuries and even millennia ago, painstakingly putting the bits of glass into floors and walls across Europe and the Middle east, and here we are today, still at it." Paul Marxhausen

 

rendezvous with karl

PHOTOS BELOW. Chillicothe Business College mural, painted from a scissors-lift three stores up. The full space was 100 foot wide. Ten foot illustrations was course work offered at that turn-of-the-century school.

--- The Karl from 2014 is melding with the Karl from 1998 and the Karl from 1977. What a rendezvous. the VAST INTENSITY joy undivided is stitching my memories into one person. that PHAT PHISH. beautiful FIRE. my king and lord jesus. from a 1996 journal entry entreats me to: DELIGHT IN HIM, speak of him, SING TO HIM, let my tears be on display, be a model of tenderness, be open, be gentle. 

 --- I remember what Danielle Sullivan told me about the red plastic tear drop, with the bright glitter outline, in the middle of blue felt jesus hands. she said: "THAT US. WE ARE IN THE WOUNDS OF JESUS. THAT IS WHERE HE HEALS US." that nine year old observation, so fresh and real. 

Danielle gets autograph BELOW from reggae band Temple Yard, when they performed in 1999 at That Phat Phish Coffeehouse, 14 North Main, Carrollton, Missouri. Off the CD they handed out. Lion of Judah, and Tell Me, and Freedom In Captivity,  samples, listen.

 --- The night I woke up at two o'clock in the morning to record on paper what he pointed out to me from that night's movie at the Uptown Theater in Carrollton. As Bud of Pleasantville told the students in the soda shop about his experiences "outside Pleasantville," the blank book pages came to life. How the roads are not a circle path, but they go on and on. He declared an experience greater-than-you-have-ever-known with jesus and the wonderful drenching rain of the spirit and the beauty of jesus ( full text at http://karl.marxhausen.net/pleasantville.html ) 

Carrollton sculptor Robert Willis ABOVE mounts his welded shovel bird at 1999 Beautiful Fire exhibit, 5 East Benton Street, Carrollton. That exhibit was sponsored by That Phat Phish coffeehouse, for a one-day event.

 --- it was my chat with wayne, something my youth group wrote on paper, the VAST INTENSITY JOY UNDIVIDED crashing mashing melding smoothing splashing into my mind and heart and being. he is ALL THAT..........and so much MORE. He stirs my senses in my 58 years old self. He embraces this porcupine, I am His and He is mine. 

PHOTO BELOW, a piano break of mine, in gymnasium. One stop of many during my father's art workshop tour 1970 - 1971, around the United States when I was age 16.

 PHOTO BELOW. at age 20, on my knees in the Commons room of Centennial College, surrounded by Jon Swift (upper left), Dan Swinarski (holding lamp), Tim Roper (center), Lynn Williams (upper right). my advertised happening event, tearing paper strips from discarded Lincoln phone books, tossing them up in the air, watching them flutter poetic to the floor. 1975 at the University Nebraska in Lincoln.

---- My piano self in 1977, sitting on the wooden bench of the Neihardt snack bar, next to Jon Swift, harmonizing about my neighbor Bob Popek in a warm and silly chorus. Conversing with the grown up version of Jeffrey Binder, the flute person who now is a neurologist in Wisconsin doing brain research. That friendship stretched through time and space into May of 2014. oh my lord, my phat phish, my delight, my king. you ARE so good.

floating line

Floating Line by Karl Marxhausen.

30 inches in length by 3/4 inch wide, 2014

DOUBLE CLICK ON IMAGE TO ENLARGE.

At my day job,

I created

the illusion

of a floating line.

Notice the door detail

BELOW.

Paper is taped to the door,

with a break, so the door can open

as it should.

I love this illusion

very much.

 

vertical color tab #4

This fourth one
has
shapes
either IN FRONT OF
or BACK BEHIND
the vertical line.
I enjoy
this creation
of space
and
depth. 

 Vertical Color Tab #4 by Karl Marxhausen,

12 inches tall by 5 inches wide, 2014

vertical color tab #3

Vertical Color Tab #3 by Karl Marxhausen,
100 inches tall by 4 inches wide, 2014.
double click on images to enlarge

This third one uses
the letter M for Marxhausen
and a pattern of
same color slashes.
Shapes
are either IN FRONT OF
or BACK BEHIND
the vertical line.
The PLACEMENT
of one color NOTE
and the next ONE
and
the next
BELOW that.

color

notes

to enjoy

from

top to

bottom.