The Greatest

The Greatest is a public art painting/sculpture installed at King Farm in Woodstock, Vermont for the 2018 LandARTLab exhibit which opens on August 25, 4 pm to 7 pm. The exhibit is free and open to the public; and will continue through November. The title is, in part, a reference to Mohammed Ali who conceived of the poem, Me We, when asked for one by a student following a speech at Harvard University in 1975. Although it is the shortest poem in the English language, it is also enormously profound.

The piece is also inspired by the teachings of Lama Surya Das who has mentioned the poem in both his talks and books. 

LandARTLab is an extension of Sculpturefest where I have installed Home Dream Home, described in the previous post. The two properties are joined by a path and, together, cover hundreds of acres -- making it one of the largest public art exhibits in the region.

The Greatest

exterior latex paint on wood

96" x 93" x 5"

2018

The Greatest (second view)

The Greatest (third view)

Home Dream Home

I constructed Home Dream Home for display at Sculpture Fest, an annual public art exhibit in Woodstock, Vermont. This year's show includes thirty-five regional artist and over forty sculptures. It is a very beautiful setting and a must see if one is in the area. Amazingly and very generously, the organizers (and owners of the property -- Charlet and Peter Davenport), make the site free and open to the public from sunrise to sunset.

Home Dream Home

exterior latex, plywood, wood, metal

86" x 54" x 98"

2018

I was honored to be invited to create a piece and even more so when I was named, along with my friend Mary Admasian, to be a featured artist. The exhibit opens with a reception Saturday, June 30, 2018 from 4:00 to 7:00, and continues until November 18.

Home Dream Home (second view)

My sculpture was inspired by my desire to see homes painted in interesting and fun ways with the hope that the work would encourage others to go beyond boring traditional painting schemes. I am also fascinated/obsessed with the idea of installing a multi-colored standing seam roof so I painted this one with that in mind. 

Home Dream Home (third view)

I used thirty-six different colors, most of which I mixed on my own. I consider it a trial run for my own building. I've already painted it with eighty-eight vertical stripes, all different colors, but it is on vinyl siding and I eventually need to remove it and fix the underlying clapboard.

188 Elm Street

2016

The vinyl siding is well beyond its useful life so one of the advantages of the paint job is that it distracts from how bad it looks. Ideally, one day I can paint it somewhat like Home Dream Home.

188 Elm Street (second view)

I titled the piece Home Dream Home because a house is just a building but a home, to me, invokes a feeling of love and play. I want the piece to be interactive. I hope that people go inside and have their pictures taken with it while looking out the windows and doors.

Home Dream Home (fourth view)

I also included washable colored chalk inside so that people can add their own inspirations. I feel that the sculpture isn't complete without the interaction of others, that the art isn't art until people go inside and interact with it. In that way, it is a living structure that is constantly changing, as a home should.

Home Dream Home (inside)

Onion River Campground Bathhouse

I recently completed painting the bathhouse at Onion River Campground in Marshfield, Vermont. It was a fun project, not least of all because the owners allowed me to do whatever I wanted, no pre-approval of concept or design. I found the project a useful reminder of just how much can be expressed with just simple colored stripes. I was going for something that would be both fun and challenging, balancing a fine line between welcoming and "out-of-place-ness." 

Onion River Campground Bathhouse

exterior latex paint on plywood

14' x 16' x 24' (approximate)

2017

I would be remiss if I did not also mention that I developed a relationship with the owners through their other venture, Nutty Steph's, my source for the best granola in the world (note: this is an objective, unbiased, easily verifiable statement devoid of hyperbole). 

Onion River Campground Bathhouse (women's side)

Onion River Campground Bathhouse (men's side)

Onion River Campground Bathhouse (front view)

Onion River Campground Bathhouse (back view)

Onion River Campground Bathhouse (before)

Art Flag Commission

Over the summer I was asked by gbA, a Montpelier architecture firm, to create an object (not necessarily a flag) for the flag pole outside their offices. After some thought, I decided to stick to a "flag" format because I love that with a flag there is an implied meaning but that with a unique abstract design the meaning is completely ambiguous.

gbA Flag

fabric

36" x 70"

2016

I researched whether to have the design printed but I didn't like the materials and I didn't think it would "fly" very well, and when I looked into buying the fabric and having it sewn together I realized it would look much better; thankfully, it was cheaper as well.

gbA Flag (on site)

85 Granite Lane

Montpelier, VT

Given that I lack the both the skills and equipment to construct the piece, this was my first opportunity to pay someone to make my art.

gbA Flag (closeup)

The piece is obviously an outgrowth of my bumper sticker series, hopefully I'll have more opportunities to create a series of flags as well.

Pick 'Em Up @ Exposed 2016

I am please to announce I have a piece in Exposed 2016 along with fifteen other regional and national artists. The show is an outdoor exhibit throughout Stowe, Vermont and is organized by the Helen Day Art Center.

Pick 'Em Up

latex paint on wood

77" x 210" x 4"

2016

My submission, Pick 'Em Up, is intended as a playful reinterpretation of the children's game Pick Up Sticks. I believe it creates an interesting contrast with the serious and austere historic New England architecture.

 Pick 'Em Up (closeup)

Because it is a historic building, I wasn't allowed to screw anything into the bell tower columns. To get around this limitation, I strapped boards in front and behind the columns then screwed column "blanks" into my strapped boards. I was then able to attach my "sticks" into my blanks. From the ground the entire contraption is not very noticeable.  

Pick 'Em Up (bell tower view)

I am very thankful that the curator, Rachel Moore, allowed me to install my piece on the bell tower. I know the Stowe Select Board was not happy about the idea of art being installed there and I am sure there will be additional "public relation issues" because of it, but the building does house an arts center so it is wonderful that the Helen Day is willing to push the boundaries a little bit in the service of art. 

Stick Colors

I bought red, yellow, blue, black, and white paints; and mixed the other ten colors on my own. Each sticks is 120" x 2.5" x 0.75"; except the red one which is only 117" long.

The reception will take place on July 23 at 4:00 pm. People will meet at the art center and then start to walk around town with brief comments by each of the artists. The walk should take about two hours. The exhibit will be up through October 15.

New Box Of Courage Installation

My "Box of Courage" sculpture will be on display in front of ECHO, Leahy Center For Lake Champlain on the Burlington water front until mid-October. This is the third installation of the piece I made in 2013 as part of Helen Day Art Center's Exposed exhibit in Stowe, VT. It was also on view in Burlington last year as part of the Art Hop.

Box of Courage

plywood, wood, paint, screws

86" x 86" x 48"

2013

Box of Courage

As usual, I found that children intuitively knew how to use it and immediately started climbing inside.

I'm very happy ECHO chose the piece for the front of their building because it offers plenty of exposure with around half a million people passing by it through the summer. Additionally, ECHO arranged for an interview with Tom Messner of WPTZ, Channel 5 in Burlington, giving me regional exposure as well.

Live interview with Tom Messner, WPTZ

June 16, 2016

(photo credit: Jessie Forand)

After the interview, where I explained the purpose of the box being an interactive work of art, Tom finished his broadcast from inside the box.

Tom Messner, WPTZ live broadcast, June 16, 2016

photo credit: Jessie Forand

I have to say that the interview was a lot of fun, and, being that it was filmed live and I needed extra courage to feel comfortable doing it, I can now attest to the fact that the box really does work, it certainly gave me more courage.

The Power and Mystery of Ursula Von Rydingsvard

I recently ran by this large maple stump in Montpelier and immediately thought of Ursula Von Rydingsvard's work that I had seen on a visit to Storm King Art Center in July. I thought it was interesting because I've wondered about her inspiration for her creations since seeing them, though I still believe the resemblance is mere coincidence.

Maple Stump -- Montpelier, Vermont

Here is For Paul. Perhaps the resemblance isn't total coincidence in that her work is monolithic and organic so an occasional tree stump will be VonRydingsvard-esque, but what I find interesting, and captivating, about her sculptures is that they are more than organic and monolithic, they are also mysterious.

For Paul

cedar and graphite

1990-92

Her work draws viewers in by causing them to ask questions. What is the material? Stone or wood? I looks organic-ish but there are still hard edges, so is it man-made or natural? Additionally, it is interesting on both the macro and micro scales, as viewers look at it from a distance they need to come closer to answer questions but as they get closer the texture and detail bring them closer, and the closer one gets the more there is to look at, until one is a few inches away examining the wood grain.

 For Paul

In both of these images, above and below, For Paul looks like it might be a wall of stone but it is confusing because of the deep crevices, that look like they might have been gouged out by water, but the edges are so sharp, contradicting the water theory. 

 For Paul

I think the monochromatic nature of the work adds to the mystery of the material and method, helping to hide the human involvement in its construction.

 For Paul

Luba creates similar levels of confusion, questioning, and interest from viewer though it has an added aspect of being partially made with bronze. 

 Luba

cedar, cast bronze, graphite

2009-10

The integration of the bronze is so well done that it is hard to identify through a casual examination of the piece (the narrow "legs" -- on the lower left in the above image).

 Luba

Again, the quasi-natural look is mysterious.

 Luba

The work is constructed out of stacked four by four cedar but depending on the angle of the cut on the end-grain, it may look wider, adding to visual confusion.

Luba

The mystery of Ursula's work goes beyond questions of construction and materials, it extends equally to her inspiration, what she is seeking to accomplish and what her inspiration is. Writers tend to spend a lot of space discussing her early childhood in German labor camps, her associated exposure to rough lumber and harsh living conditions, and her difficult emigration to the US; but few actually discuss the emotional quality of the work and her goals in its construction, including Ursula. For me, the power and mystery are the point, where the line between natural and man-made are blurred and the forces of either can be overwhelming, dwarfing where we stand.

Queensbury, NY Billboard For Sale On eBay

I am excited to announce that I listed my billboard, Queensbury, NY, for sale on eBay. If you are interested in seeing the auction, you can follow it here. Bidding ends February 25, 2015 at 3:00 pm EST.

I first wrote about this project here, but, for a summary, I was inspired to create and pay for the installation to provide a counter-weight to the deluge of demanding messages we all receive everyday. It is my hope that by saying nothing, the billboard would provide mental space for the viewer, allowing time to just "be" without being told what to believe, feel, do.

Queensbury, NY

print on plastic fabric

10'5" x 22'8"

2015

photo credit: Emma Dodge Hanson

I was really lucky to find a great photographer who lives in the Queensbury area, Emma Dodge Hanson, to document the project for me. It is such a blessing to work with a professional who understood my goals and could compliment my artistic vision.

 Queensbury, NY

photo credit: Emma Dodge Hanson

I am also very pleased to have received some good press coverage of the piece -- Pamela Polston of Seven Days wrote an excellent article Vermont Artist Robert Hitzig Makes A Billboard Statement and I was interviewed by Lucas Willard of Northeast Public Radio out of Albany, NY for the story: Vermont Artist Reflects On Wordless Billboard Project.

 Queensbury, NY

photo credit: Emma Dodge Hanson

When I started this project, I thought the billboard would be destroyed at the end of the installation, but to my surprise, I learned after it went up that it is printed on a thin plastic fabric that can be easily shipped and stored. In fact, the billboard weights less than 5 lbs and was shipped to me is a medium sized box. However, because the billboard was cut at places along the edge in order to remove it, and it is not in mint condition, having been displayed outdoors for a month, I photographed it in the Montpelier High School cafeteria so that perspective buyers would be able to see its current condition.

 Queensbury, NY

Montpelier High School cafeteria February 2015

In offering it for sale, I hope to raise enough money to create another and, ultimately, maintain an ongoing self-sustaining series. I'd love to do more of these, it would be fun, and I think it would do some good too! 

Another Way To Say Nothing

I've really enjoyed my bumper sticker project over the last year and a half for a number of reasons -- they are fun to design, they are easy to talk about, people respond to them, and they have a concept that I think is important: saying nothing -- not telling people what to think, do, believe; and giving them something that they can interpret for themselves incongruously placed where they would expect an overt message.

Over the summer I got the idea that I could raise the volume of my silent propaganda by doing the same thing on a billboard. The thought scared me at first (and, actually, it still does) because the significant increase in expense, but when I realized the thought wouldn't go away I became resolved to the the fact that I would do it. As it turns out, I realized the vision pretty quickly, settling on a spot in Queensbury, New York, Route 9 (north facing), installed on November 11 for a four week period.

Queensbury, New York

billboard

10'5" x 22'8"

2014

I like how it came out, and I like the juxtaposition with a liquor store and a fast food restaurant, but I am now very curious how it is received or whether it will be noticed at all. I saw it in person on the November 12. During my visit, I didn't get a sense that anyone had a thought about it -- I didn't see anyone looking at it and the one person I asked hadn't seen it yet. I get the feeling that it is one of those things that you'd have to pass several times before you give it a second thought so, in that way, I'm glad it is in an area that local people would likely drive by to work or shopping on a regular basis.

Queensbury, New York (second view)

When I committed to the space I was under the impression that at the end of the rental period the billboard would be destroyed as part of the process of putting a new one up, but, to my surprise, I found that it is printed on a woven plastic fabric that I can actually keep when it is taken down. So, instead of it being a ephemeral installation, I can actually retrieve and sell the piece. As a result, it is theoretically possible that I could get enough money from a sale to afford another. It would be wonderful if I can make this an ongoing series in different locations around the country. Hence, I've been aggressive sending out press releases with the hope that I can generate enough publicity that the piece will have value when it is taken down.

Queensbury, New York (third view)

Admittedly, there is a crazy element to renting a billboard with no words or identifiable image (though, I believe, all good art is at least a little crazy so this gives me hope that making it is the right thing to do) but since I couldn't ignore the idea, realizing the vision alone is worth the effort and expense. Still, I have hopes, and my desire is that people see it and have a response -- any response. Perhaps it is seen as a crazy, irrelevant, self-serving, esoteric, opaque, and/or just plain confusing, but even a negative response is self-generated thinking from the viewer, so I feel the process is positive even if the emotion created is negative. However, if viewers see it as I intend, as a gift of mental space, as an object that is purposefully not telling people what to do and, thereby, saying "be," I will be even happier.

Fear of Triangles

In August I was asked by the architecture firm Gossens Bachman Architects to paint a metal garage door on a warehouse building next to their offices in Montpelier, VT. This was an especially fun commission because, just like my last one, I was given free reign to create whatever I wanted without any discussion, plans, or drawings. This is how I prefer to work so it is a blessing to find clients who are brave enough to go along with my madness. In fact, the extent of our conversation about the design was the following:

GBA: So, do you know what you'll do?

RH: I have a vague idea.

GBA: Do you know how long it will take?

RH: Until I'm happy. Maybe a week, maybe more, or I might go super-minimalist and decide that I'm done when I show up the first day. 

GBA: Ok.

Fear of Triangles

exterior latex paints and stains on metal

144" x 138"

2014

 I ended up using twenty-two colors and creating twenty shapes. I visited all the local paint stores looking for mistints so I could find random colors cheap but ended up having to mix some of my own because, with a couple of exceptions, the mistints were dull/boring colors and I was looking for bright colors that would make the piece highly visible from a distance.

Fear of Triangles (site view)

 The painting is located in an obscure industrial section of town but it is visible, especially in the winter months, from Barre Street, a highly traveled side street. I'm happy to report that the feedback has been positive and GBA is happy with the results. I look forward to finding more opportunities for outdoor paintings because my dream/vision is to eventually start painting buildings. I'm hoping I can find a client brave enough to hire me because I don't have the money right now to buy my own structure.

Barn Art -- A New Series

I recently started a series of painting/sculptures for the outside of the converted barn I live in. I've never seen anyone else making anything like these so I figure they must be original. I'm not sure why I started or even what I'm doing. I have no plans or ideas, I'm just trying to follow the inspiration wherever it takes me with out any judgement. I think they are fun, I like how they alter the look and impact of my building. They change it from a drab structure to something that is different and unexpected. I like that. I can't tell whether they are good or bad, or whether anyone else likes them, and I really don't care. For me, it is just enough that they are what they are.

Below is the first one that I made in early August. It was made with all the cut-out circles I had left over from Box of Courage I made for the Exposed show in Stowe, VT back in June. I haven't titled any of these pieces yet and I'm not sure of the measurements either, I think not knowing these things is part of the fun. The front door this one hangs over is about 44" wide though, so this piece must be around 55" inches wide.

Untitled

exterior latex paint and 5/8" underlayment plywood

39" x 58" x 3"

August 2013

This one is more of a pure painting but it is done on the old hay bale door I pulled off the barn about nine years ago. I rediscovered it recently as I was cleaning up my stacks of stored lumber. When I found it I was entranced by the peeling alligator pattern of the old lead paint so I took off whatever wanted to be removed and used the door as a found canvas. The stripes are painted along the strips of tongue and groove boards used to make it so the colors just emphasize the pattern that already exist. I did measure this one and was surprise how large it is.

 Untitled

exterior latex paint and stains on old hay bale barn door

48" x 45"

August 2013

This piece was made with some scrap pieces of 3/4" underlayment plywood that I repurposed after 8 years of service as snow/ice protection for a couple of A/C compressors. When I finished it, I really didn't know what to think but it has grown on me, a lot. It has inspired me to make a similar style piece for indoor walls.

Untitled

exterior latex paint and stains on 3/4" underlayment plywood

55 x 54" x 2"

September 2013

These last three pieces were made with a repurposed sculpture I made last year for Art Hop. The old piece inspired this year's Box of Courage but I didn't feel it was nearly as good and I no longer had the desire to display it so I cut it up into geometric shards with no idea how they would be reassembled, only the assumption that something good would come of it. I was really surprised and very pleased with the results. In fact, I didn't have any idea how figurative this first piece was until a couple of days after I assembled it. To me, it looks like, if there were such a thing, one of Caesar's armored hippopotamus soldiers practicing yoga. Very funny. 

Untitled

exterior latex paint and stains on 5/8" underlayment plywood

63" x 45" x 2"

September 2013

I hadn't realized the figurative nature of this one until I had finished either. To me, it seems something like a Picasso portrait.

Untitled

exterior latex paint and stains on 5/8" underlayment plywood

61" x 37" x 2"

September 2013

And this last one seems more purely abstract but has a figurative element as well. I think that tension of being right on the edge of a figure makes it more interesting.

Untitled

exterior latex paint and stains on 5/8" underlayment plywood

45" x 31" x 2"

September 2013

Here is a view of the overall structure. The small window on the right side is where the original hay door was located.

At this point I either need to buy another barn or start selling these things because, unfortunately, I've run out of exterior wall space and I still have some pieces I'd like to finish. Marketing something like this can be problematic though. By nature, it isn't something that would hang on a gallery wall and aside from telling friends about it on Facebook, how do you get the word out? Maybe I should start a blog!!!