Then I saw it. Anyone dripping paint on canvas had to answer to Jackson Pollock. He was first. Anyone sculpting skinny rough figures had to answer to Alberto Giacometti. He was first. Anyone painting sexy flowers had to answer to Georgia O'Keeffe. She was first, and so on. First matters in Art. The rest is all second-hand.
 
It was then I changed my approach to magazines. I combed them closely to be sure nobody else was doing what I was doing and vice versa.   And man, there is a lot of sculpture out there to comb.  
 
The result of my search for The Art is the unexpected discovery of Me. Now I live in every sculpture.  Unavoidably now, my sculpture has me imprinted on it--everywhere.

Still, I have not done a self-portrait.  But then I am not 90--yet.

So, I was out by Evergreen Lake trying to walk off a few pounds when I spotted a couple approaching me on the trail. She held his arm as they tender-footed the light snow. Every step was a giggle, so I knew they were courting. His heroic arm braced her as she beamed her fascination in return. 
 
Suddenly the laughter ceased. I was spotted.

​"Good morning," they said as one. Happily, they did not add "Mister."
 
"Good morning," I replied as I passed, blissfully remembering what courting was all about.  Then I thought about Heisenberg. 

Those of us who suffer from left-brain poisoning do that. Werner Heisenberg discovered a quantum mechanics principle requiring half a Greek alphabet to write down. It applies to small particles and the difficulty of measuring them. Seems you can know the location or momentum of an atomic particle, but not both. 

How does this relate?
 
Well, I prefer the right-brain interpretation of the Heisenberg Principle (sorry, Dr. H). The act of observing something changes what is observed. Philosophers and psychologists love this. I watched it on the trail. Whether the couple changed behavior because of me or I changed my observation because of them is endlessly debatable. But something changed. It always does.
 
And then the ghost of Dr. H appeared a quarter mile later in the form of a different couple, this time accompanied by a smallish photographer. They were on a lower trail by the lake snapping what must have been engagement photos. Smallish Photographer was barking orders and directing the holding of hands and how to walk in step. The couple must have been very in love because they gritted their teeth and rolled their eyes in unison. There was born the Linke Principle: The act of observing something intensely destroys entirely what is observed.
 
So, how does this relate to my sculpture? Easy. 

Genuine emotion must be remembered from the flash of those unguarded moments when the observee is oblivious. "Smile for the camera." Never. "Pose like this." No chance. "Act natural." Won't happen.
 
Great sculpture comes out of that frozen moment when we are ourselves and nobody's watching. Or at least, we don't see them. Chasing and sculpting that moment challenges me and fills my every day. Thanks Dr. H.

Those of us who display at art shows get to know one another pretty well--even with only periodic visits with one another. My friend and international landscape photographer, Dennis Kohn,
took me under his wing five years ago at my first La Quinta (CA) festival and we became friends, much like performers who run off to join the circus. We visited at shows and shared our stories.

he circus called last month.  Dennis was a victim of the Tubbs fire in Santa Rosa.  His cat made it out with him.  His parrot did not.  His house, belongings, photo equipment and 60 framed inventory photos turned to ash.  Judging from the photos, only dirt and one metal sculpture from his front porch survived.



I sent money to his Dennis's Go Fund Me Site and sat back to wonder what it would be like to lose all my stuff in a sudden ball of fire (I live in forested Colorado).  Dennis cuts a bright example for me, measuring the damage and moving ahead, but I wonder: How will he change?  How would I change?

I thought about artists and what their bare necessities might be.  I settled on 'intuition and an eye,' both of which Dennis still has.  For a sculptor, it may not even be necessary to have an eye, having watched videos of Zuniga in his last years, blind and sculpting huge terra cotta sculptures with just his intuition.  Still, I could not make a case that equipment or location matter that much.

Catastrophe presents opportunity for change.  Artists adapt all the time to better methods, broader ideas, whimsy and, yes, intuition.  I think Dennis will make it just fine.  We all will help.  

Would I make it?   Hmmm, I like to think so.  Maybe I'll get a cat.

I like it when people ask me, "Where do you get your ideas."   The question contains at least the implication that I have ideas and they are interesting. I feel good.
 
I've asked that question of myself often. Once I purchased the book Secrets of Magical Craftsmanship by Salvador Dali. Now THERE'S a guy with lots of ideas who is ready to spill his secrets. His secret?

As you sit in your stuffed chair, have your valet place your keys in your hand and a dish on the floor. Sleep. When the keys hit the dish, jump up and paint feverishly for an hour from what ever was in your dream. 
 
Okay, I handed my keys to Deborah, but was told, "I'm not your valet!" A setback, but I persevered on my own.

An hour later, the keys missed the dish but I jumped up and started squeezing clay feverishly.
Nothing.
Not even close to an idea. Just lumpy clay.

It dawned on me that Dali has his path to ideas and so I must have mine. Okay, Harold, answer: What's your path?
 
For me, ideas come from everything I have ever learned or done. While that sounds big, it actually limits me to only what I know. Eastern thought, African rhythms and bison instinct never play into my ideas. So I go with what I know.
 
Then I combine from those personal physical and spiritual ideas to draw the essence of a new idea--new to the world--a message in an idea, a metaphor.   It helps that I have self-diagnosed ADD. That lets me move through candidate ideas quickly. It also helps that I can comfortably picture things in three-space. I don't know if that can be learned, but happily, I've got it. I look to get a dozen or so ideas at a time.
 
Filtering comes next. Anything not joyful, thought provoking, attention grabbing or truthful, goes away immediately.   Next go the impossible ideas; flames as sculpture, weightless bronze, and live figures.
 
Then I actually take a page from Dali--sort of. I sleep on an idea.

Those of us of a certain age remember when hotels and rail-car sleepers included a small two-door box built between the room and the hall, one door to the room and one to the hall. Overnight, you placed your shoes in the box and the next morning they were cleaned and shined!  Magic!  Sort of.
 
I have a personal shoe-box for my current idea. I think about my idea and go to sleep. The next morning, magically, the idea has been cleaned and sometimes expanded, problems have been solved, opportunities pointed out, connections clarified.

No dreams seem to be involved, just wide-awake looking into last night's shoe-box to see what magic has happened.

Works for me, anyway.

Once I saw a film of Picasso behind a glass pane with his brush in hand.  He strode to the glass and quickly drew a bull.  A stroke here, a dot there and he was done.  Eight strokes with two, maybe three dots, and he was done! I waited for him to paint more of the bull when I realized he had painted me a completely satisfying eight-stroke bull, in 28 seconds!  

His genius got me thinking about whether sculpture allowed for such single-outline masterpieces.  If he could capture an area on his glass canvas, could I capture space?  The idea fascinated me: Making a few lines flow into space and gel into a meaningful figurative gesture.
This was the beginning of New Girl, twelve feet tall.

I take my responsibility as an artist seriously.  My goal with New Girl was to create a valid fullness with only lines, a dream, a framework on which you can hang YOUR truth and understand it.
There you have it: Sculpture, You, Dreams, Truth--all there together.  Quite a load for a sculptor who has never seen any creation like this.
Lines which would curl meaninglessly by themselves must blend together and form some mysterious music. I say music because there is harmony and coherence but, then again, its not music since all the harmonies and meaning change as you move about in relation to the symphony.  Moving from the Loge Right to the Balcony Left does not change a symphony's presence or meaning.

Mine changes.
A lot.

Since this is uncharted territory, I found myself walking in circles like a predator trying to learn where the strong and weak angles live.
Do I tweak something? Why? What else changes if I tweak?
More circles.

Could these new-to-the-world sculptures be like magic mirrors?  If I walk around to the reverse side, does beauty become ugly; does joy become despair?  Or is this new angle simply a new beauty and joy I just haven't experienced yet.  Or does it contain some entirely new meaning.

More circles, and I still don't know.
We are all learning this together.
I'd love to hear your thoughts about circles