…among other things.

Tomorrow, Friday, is the first day of Three Star Owl‘s Open Studio, part of the Camelback Studio Tour.  The weather is supposed to be beautiful, but the meteorologists have less lovely predictions for Saturday and Sunday.  We’ll see.  Rain or shine, wind or calm, I’ll be here from 10 – 5 waiting for you to come by and check out the owly and non-owly wares.  Lots of mugs, by the way, from corn to ravens, snakes to scorpions.  And bowls, lots of bowls.

Here is a detail of a small jar fresh out of the kiln: each owlmorph is considerably less than an inch tall. >>

Three Star Owl is proud to be part of the South Scottsdale Art Alliance’s Camelback Studio Tour next Friday Saturday and Sunday, 25, 26, 27 Feb, from 10am – 5pm, and you’re invited!

<< detail, Greenish Beastie Pitcher, breast “plumage”

Several homes in the “we could have been but we voted not to be” historic neighborhood of Sherwood Heights, in what the sensitive prefer to refer to as “Original Scottsdale” between 54th and 60th Streets and Thomas and Oak, will be hosting more than twenty local artists in a variety of mediums on these days.  Everyone is welcome —  it’s free and it’s fun.

Three Star Owl (Studio 4) will have a small but pithy assortment of sculptural and functional clay items for sale (as they say, come early for best selection!), and throughout the weekend, I’ll be demonstrating hand-building techniques in my tiny and ramshackle studio space.  (And the always business-minded Cranky Owlet would like to remind potential shoppers that cash and personal checks are always welcome, but Three Star Owl is not set up to accept credit cards).

For more information and directions, click HERE, and click here for a map.  There will be signs around the neighborhood directing you to each host home.  If you have any questions or need further information, please don’t hesitate to contact Allison through this website’s Contact page.

Hope to see you there, rain or shine!

The Beasties are coming!

Here is a close-up of the finished surfaces of the same Beastie Pitchers shown in raw clay a couple of posts ago.  They, and other functional and sculptural ware, will be offered for sale at the upcoming Three Star Owl Open Studio, coming toward the end of this month!  Stay tuned for more details.

It’s the Return of the Beastie Pitcher! For those of you familiar with Three Star Owl “Beastie Ware” — functional clayware that looks like it might nip your fingers, or wrestle the napkin holder to the ground — here’s a march of the beastie pitchers: three in-progress, highly textured pitchers in various stages of drying, destined (if they survive their ordeal of fire) for an Open Studio/sale coming up in just over a month. Stay tuned for more details!

As long ago as the Old Kingdom (the middle of the third millenium BCE), the Egyptians used the eye of the Falcon — the eye of Horus, the falcon-headed deity — as an apotropaic, or protective symbol, wearing the still-popular faience amulets as personal ornament, or tucking them into the wrappings of mummies.

The Left Eye of Horus, also known as the Wedjat Eye, was known to be particularly potent, and its resurrective power was demonstrated by bringing Osirus back to life. According to the British Museum:

The name wedjat means ‘the sound one’, referring to the lunar left eye of Horus that was plucked out by his rival Seth during their conflict over the throne. The restoration of the eye is variously attributed to Thoth, Hathor or Isis. The injury to the eye and its subsequent healing were believed to be reflected in the waxing and waning of the moon.

Horus’s falcon counterpart is said to be the Lanner (Falco biarmicus), a falcon of southern Europe, Africa, and the middle east. We don’t have Lanners living wild in this hemisphere, but most falcons display the typical black “speed stripe” below the eye, like cheetahs, which is the distinctive characteristic of the Wedjat Eye symbol.  To illustrate, here’s a detail of a clay portrait of a native falcon I recently completed: the left eye of a male American kestrel, the smallest falcon in North America, and terrorizer of finches, grasshoppers, and small rodents.

Really, I don’t know if a Kestrel’s eye is so much a bringer of life, as it is a see-er of lunch, but, that’s life-giving to a kestrel, if not to the lunch.

“Don’t forget to VOLE, er… VOTE!!”

…Halloween Greetings from Three Star Owl.

(Photo, Detail of “Mother of Owls”, Allison Shock, smoke-fired terracotta, 2001)

What if you had to raise large numbers of owls, herds of owls, swarms of tiny owls, all at once? What if that was your job? What would you need? You might need an Owl Hive. Or a cluster of Owl Hives. What would an owl hive be like? Each hive would have to have entrances, so that the owls could fly in and out. There would have to be an interior chamber, so the owls could build their elaborate, communal owlcomb. There would have to be access for you the Owl Keeper, to extract whatever product the owl colony produced and stored inside, like vole honey or rabbit suede. It would need a lower hole to expel pellets and admit fresh air. At the very least, there would need to be a roof for the owls to land on, and a lofty perch from which to Keep an Eye on Things.

Here are some detail photos of unfinished architectural-effigy-nest-vessel-box objects in progress, some only bisqued, some completely innocent of the kiln as yet — the most recent Three Star Owl clay project. They might be Owl Hives. They might be sculpture or effigy vessels. They might be small ovens or incense censors. Or, they might be actors, waiting to be cast as archæological artifacts in an upcoming fiction post on this blog. Of course, they might be all of the above. Stay tuned to this location to see how it goes. (All photos and objects A.Shock)

(This is the FINAL final episode, the Epilogue to an eight part series. To read all the episodes, click here: The Ganskopf Incident or on The Ganskopf Incident category in the sidebar to the left. The earliest posts are at the bottom, scroll down to read them chronologically from the bottom up.)

“That’s what conservation departments are for.”

That remark by Dr. Danneru stayed with me a long time, quite as long as the shock of seeing the fragile amber “fetish” destroyed by infinitesimally improbable misfortune and scofflaw beverage consumption. His controlled tone was either supremely insensitive or genuinely kind: either a willful effort to deny the magnitude of the loss, or a desperate reassurance intended to put things in perspective for us. I’ve never been able to decide which. Coming from the person most responsible for the disaster, it was certainly self-serving.

In any case, the statement was mere bravado – the piece was unrecoverable, as he must have known. My stained, smeared drawing of it was used as evidence in the insurance inquiry and subsequent lawsuit, and I had to return to Lassiter for a day in court where I answered a lot of questions asked by precisely-speaking men in expensive suits. Surprisingly, the question of tea never came up. Apparently ranks had been closed in the face of investigation, perhaps agreements reached. Museums, collectors, academia, and the legal profession are a squabbling ménage, yet they perennially cohabit, with law enforcement and insurance their prying neighbors, ears pressed hard to the walls.

I never heard the outcome of the case, but I was fascinated to hear that the monetary figure in question – the insured value of the shattered piece – was put at an amount well above what I could earn in a year. This official valuation had been provided by an unexpected expert witness: Dr. Darius Danneru, PhD, MacCormack University, member ESSA, ICER, fellow of the Szeringka Institute, etc etc, who, it seemed to me, was hardly impartial in the matter but who turned out to be the world’s leading expert on the subject, which explains a lot.

Except for a final payment for the straw owls drawing, I never heard from Dr. Harrower again, or went back to the Ganskopf Collection to draw. I don’t know if this was because the project was finished anyway, or if it ended precipitously as a result of the calamitous mishap. There had been dialog between us concerning the drawing of the archaic stone owls, which Dr. Harrower insisted he hadn’t requested, and so did not intend to pay for. Rather than pressing for payment, I called him to ask for the drawing back. In a refined Texas drawl, he politely agreed to send it, but the only thing the mail ever brought was an apology from him with a message that he seemed to have misplaced the drawing. I let it drop at that.

My other drawings of owl “fetishes” eventually appeared (without credit, to my astonishment and irritation) in a popular archæology magazine – a news stand “glossy” – accompanying a fluffy article about mystery artifacts by Dr. Harrower, confirming the moonlighting theory. I thought the illustrations looked pretty good, despite the printer having used a heavy-handed red in the page (nobody thought to send me the color proofs to check), and the layout was a welcome addition to my portfolio. Of course I’m no expert, but the text seemed somewhat trivial to me; and I keep recalling that poorly restrained, haughty sniff Dr. Harrower’s colleague had emitted at the mention of his name.

Strangely, not long after the incident I received a cold-call from someone named Rory Zohn at NEMECH, the New Elgin Museum of Cultural History, inviting me to interview for a full time position as Illustrator for the Unsecured Antiquities Collection. The interview got off to an odd start: Dr. Zohn’s first question wasn’t to see my portfolio or about previous job experience, but to ask me to recount the Ganskopf incident, even though he seemed to already know a lot about it. I didn’t leave anything out or spare anyone, including Dr. Danneru and his illicit mug of tea, and when I got to the comment about conservation departments, my interviewer just shook his head, muttering something that sounded like “supercilious bastard,” but clearly smiling behind his beard. I got the job, and I’ve been working there since, now fully acquainted with what “unsecured antiquities” are, and glad to not be surviving on freelance work alone. Stranger still, just last week while rummaging through a flat file at work, I found the archaic stone owls drawing. Rory said he’d had it for quite a while but had forgotten, and I was supposed to take it home. Somehow, distracted by his bad joke about the owls finally coming home to roost, I never heard how they had come to him.

I’ve always wondered what happened to Miss Laguna – almost immediately after the incident, her name was gone from the staff roster on the Gankopf Foundation website. I couldn’t find out if the poor woman had been fired, or if she had quit. Perhaps she had fallen back on her night job. I wondered if anyone – like for instance the person whose carelessness had lost her her career – had made any effort on her behalf. Considering his apparent lack of concern about the shattered “fetish”, it seemed unlikely. Yet, thinking of my own out-of-the-blue offer of a plum job at NEMECH, I had to admit it wasn’t impossible.

One thing I know with certainty: whoever replaced Miss Laguna as Ganskopf Librarian is bound to be a dragon for regulations concerning food and drink in the reading room. That was one damn costly mug of tea.

End

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Coming soon, the next series, a prequel to the Ganskopf Incident:

“What happened at Beit Bat Ya’anah”

or, Dario and the Mother of Owls

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