Project Echo

In October 2010, I had the fortune of participating in a group art show called Project Echo. The show was put together by local writer Shea Boresi, who had the idea that an ongoing art dialogue could be created using a photograph her grandfather Rodney Rieken had taken in Korea, 1953. She asked for artists to give their response to the photograph, in any medium they desired, and held a showcase at the Ragtag Cinema. Shea even provided a poem, which you can view, along with Rodney Rieken's photo, here:
http://web.me.com/rayshea/projectecho/The_Art/Entries/2010/6/30_The_Question.html


I chose this opportunity to try a new approach; to stretch my creative wings a bit, move out of my comfort zone into less familiar territory and see what happens. Here is a written piece that accompanies my sculpture/diorama, 'Sojourn 2010':


When I think of innocence, I think of my childhood and all my naivety about everything. Rodney Rieken's photograph triggers in me the feeling of innocence and its subsequent loss, as well as the loss of youth. My own life journey has happened around where my innocence has been encountered, embraced and/or dispatched. In my created world, 'Sojourn 2010', a lone male elephant proceeds past a dead or dying tree, toward the edge of a reality that has been constructed in the present tense, with only a distant cityscape as a hint (or a distraction) of a past to guide him. Only the elephant isn't merely an elephant, but a void into 'space', which takes the shape of the travelling beast. This 'space' represents the infinite; our experience and all that comprise and compose our life journeys. I can't help feeling part of Rieken's journey through his photograph; of his innocence evaporating in a world and culture very different than his own, as mine surely would have in his stead. 'Sojourn 2010' is indicative of me in a stage of my life where the only place I have ever lived and known was left, for a new adventure or chapter. The tree signifies that family (or my meaning thereof, as defined using setting) would be all that is left for me if I stayed, and the antiquated or romantic view of the city I was born in (and love dearly) isn't what it appears to be (here is referenced Detroit, circa 1940's). The elephant is traveling alone, which doesn't occur in reality as they always travel in groups, and this signifies that the journey must physically be taken alone while family will always be carried with me in the non-physical way. My own innocence is left behind me in my journey forward- left behind with items that become symbols of my childhood: burlap (such as from sacks I used to keep toys in), an elephant (a favorite childhood animal), (portions of) an Erector set, tree branches (a reminder of favorite childhood play spots) and the diorama itself (a reminder of museum visits and play sets).

Overall, I am very pleased with the outcome of my sculpture/diorama. It has given me the confidence to pursue the medium further, if I wish, and has allowed me to grow as an artist.

Most of the materials used on this piece were 'found'; meaning not purchased. The exceptions were the Paperclay (which makes up the elephant and part of the tree), and the Spanish moss on the tree (which is actually lichen used normally for model railroad projects).

Later this year Shea plans on having a Round 2 of Project Echo, where artists can create pieces in response to Round 1 works continuing the dialogue in an interesting and meaningful way. I look forward to participating further with Project Echo.

Further info on Project Echo can be found here: http://web.me.com/rayshea/projectecho/Home.html