19th century / early 20th century building facades also include ornament and bas-relief sculpture of historical heroes, mythological gods, and obscure symbols known to the literature-soaked culture of the time – so much richer to the passer-by than the large scale, simplified forms of modern architecture. The 19th century photos of Paris by Eugene Atget are an inspiration for this sketch. ![]() The old shop windows are simply that: big windows carved into stone or masonry facades – framing the merchandise like paintings or tableaus. Modern shop windows are often continuous planes of glass designed to accommodate the changing of store sizes and types. I’m a sucker for urban detail like shop windows. Over the doorway is a bas-relief of an Indian chief with an unstrung bow (symbolizing the peace of defeat) under the carved head.Īs I walk down the street, I see a shop window (No. Walking to the Spire (No.4), I am followed by an Omaha ancestor wandering homeless with his travois through this alien city which is built on the tribe’s summer trading grounds next to the river. The cross-roads is guarded by a stoic Omaha who seems to look deeply into me asking if I know anything about the choice I’m making. The passageway leads to a cross-roads, one of many in this walk. Their size reminds me of the scale and dignity of ancient Egyptian sculpture. She was worthy to be called a warrior with different weapons.įrom the courtyard, my walk takes me through a passageway (No.3) with giant bas-reliefs of my Omaha ancestors. My great grandmother fought for Indian land rights in the Nebraska law courts and legislature. He educated his four daughters and one son in the new culture. He was not a warrior, but he prepared his tribe as best he could for the coming wave of whites. My great great grandfather on my father’s side was the last of the Omaha chiefs. 2) with an equestrian statue of a plains Indian from the Omaha tribe instead of the usual Italian prince. The path leads through the portal into a courtyard (no. I use a Faber -Castell Pitt S artist pen and try to limit my pallet to black and sanguine colors. The shadows are evocative of something there, yet not there. I love drawing light and shadow through the gradations of hatch-work. 1) through a portal that reminds me of the strange garden of Bomarzo and its Orcus Mouth. The walk starts by entering a passageway.Īnd so it starts (No. Can you find it in the overall plan of the city? On the inside of the cover is an enlargement of the district where the walk occurs. The walk depends on the map to lead to the next event. ![]() The walk is documented in a sketchbook with the plan of the city on its cover. As any ancient city, it is a palimpsest showing hints to its changes. The imaginary city (yet to be named – I’m open to suggestions) is on a river (also yet to be named) established many millennia ago. A walk through an imaginary city 28th November 2020 By admin
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