Ahoy Matey, and Welcome to REPTIRE, an intermittent ‘ship’s blog’, chronicling the slow rise in the South Easterly skies of Reptire Designs; a studio that designs and crafts always artful, and sometimes useful THINGAMABOBS from old Indian Cucachou, aka ReTired Rubber.

Down Below, Ye shall find a permanent 'flagship post' marking the Maiden Voyage of Reptire Designs.

And below that, in the ‘hull’, can be found more recent posts chronicling the daring new adventures of Reptire Designs, dashed with small bits of whimsy, spotted pickerel, local color, and lizard lore..

In fact, on the right, in pale purple, ye shall find the Captain's Log’s Table of Previous Posts, which ye can peruse by year, month, and title to ye hearts content.

If ye haven't gotchyer sea legs yet, My Pretty, Ye can take a gander at our website at www.reptiredesigns.com, to get a proper Landlubber's Introduction.

Thanks for stopping in, I do hope you enjoy your visit aboard this ship! HARHARHARHAR.......

Sincerely, Travius Von Cohnifus

Captain, Founder, Indentured Servant, Rubber Alligator Wrestlor Extraordinaire a' this here ship.

enter the treadknot

On September 26th, 2006, I launched my tire art/design business, Reptire Designs, with a solo exhibition of my artwork in The Green Gallery at The Scrap Exchange Center for Creative Reuse, in Durham, NC. For many reasons, it was a night that I will always remember, and I am grateful to Laxmi (my girlfriend at the time) and Edie (my mother, still) for dutifully documenting while I shmoozed, so that I may now shmare a taste of the evening with anyone who was not able to attend...

On a cool but lively autumn night-before-Center Fest, a stream of friends and curious strangers trickled (like pebbles through a rain stick) through the forest of odds and ends (that roost at night in The Scrap Exchange), out into the warm light of the back savanna, a scene utterly glopped with bizarre rubbery hybrids. Tentative and curious, the visitors craned their necks, nibbled, pecked, stood back, moved in closer. From the walls, glassy mirror eyes gazed back through black unblinking eyelids, while beneath the visitor's feet, in a steamy drainage cistern, a mortal drama unfolded. Primordial forms, with no eyes at all, sat puckered on stoops. A cascade of glittering steal droplets formed a curtain, to which clung a colony of tiny tire knotlettes.

Vito D., a long-time collabator down from the Asheville area, caressed the warming air with his Strange Little Folk music. I bobbed and I flit, and at an increasing clip-someone must have opened the faucet a bit....for soon I was swooning, I just about lost it! As the evening progressed, to my delight and amazement, 'family' from Durham, Chapel Hill, Pittsboro, Hillsboro, Siler City, Asheville, and Fresno all made it! From the Cohn Clan to the Steudel Clan to the CFS Clan; from the WWC Clan to the Duke Ac Pub Clan to the SAF Clan; from the Bike Shop Clan to the Ninth St. Clan to the Scrap Clan... and every one in between, guys, they were all appearing before my stunned, blinking eyes. While I spun and I splayed, Vito now played-CHURNED- up a torrent of gritty ditties; while a staff volunteer (Brandon's a photographer, I swear) whipped up pitchers of Mango Lassies. And The 'Scrap Exchange girls' worked the door, the counter, and the floor, going "cha-CHING!", cha-CHING!","cha-CHING!".!.

By the end of the night, hundreds of friends, acquaintances and had-been-strangers had poured in, poured over the work, and partaken in, what was for me and my art, a monumental communal feast. And on top of it all, I got to place many of my preemies in hands that I love and trust, and in several instances, hands that fit them like gloves. What a privilage to be able to connect with people this way. Heading into the turbid seas of small business, I can confidently say that if I drown tomorrow, I am at least blessed today with the memory of (as Vito later put it) one authentically good Durham night.

Thanks to all of you who were there; in body and/or spirit.

Reclaimed-wood Builder and Reptire Collector Howard Staab enjoying magwi knot at the Scrap Exchange

Reclaimed-wood Builder and Reptire Collector Howard Staab enjoying magwi knot at the Scrap Exchange
I can't think of anything more rewarding for an artist than to see someone interacting with their artwork. Photo by Laxmi Haynes

Sammy and Dannette contemplate

Sammy and Dannette contemplate
Photograph by Laxmi Haynes

Cascade Colony of Knotlets

Cascade Colony of Knotlets
They would go with your jacket, would they not Claire?

Laxmi Resplendent

Laxmi Resplendent

Mavis In The Mist

Mavis In The Mist
Photograph by Laxmi Haynes

Tire Amazement

Tire Amazement
Photograph by Edie Cohn

Thursday, October 27, 2011

Tire Mandala on Board!

Well, I am proud to announce that after several years of gestation (talking it around, here and there), Bruce and I have finally just given birth to a our first baby Tire Mandala. It is kinda ugly, really just a working model, but boy is it CUTE!
Sorry, no pictures allowed just yet.

Tuesday, October 25, 2011

Steps Towards Creation

This past weekend, the band of awesome and honorable musicians that I play with from time to time, aka ZamBambooGee, had a practice for our upcoming show at RSI.  We worked on a lot of rockin Beatles kinda stuff, and it was alot of fun.

Later that evening, I stopped back by, and Bruce kindly let me park my tired self on his couch for the night, as I had work to do in the neighborhood the next day. The next day, ideas were Poppin!...

You see, Bruce, in addition to being a fantastic Bassist, Guitarist, Harmonic Player, and Human, is also a FANTISTIC Visual Artist.

Although he has been creating trippy psychedelic drawings for decades, in the past several years, this man has bumped his art and craft up to a WHOLE NEW LEVEL. It is always really exciting to witness an artist push through like this, into new territory. What does he make? Well, in a word: Mandalas.

Over many years, Bruce has developed a complex technical process on the computer, by which he is able to begin with one of his hand-drawn motifs, and multiply and manipulate this image sometimes beyond recognition. What he ends up with is a terraced architecture of forms, building upon one another, rapturously, in an orgasm of light and color.

So enthralled by the groovatude of Bruce's work am I, that I have made a proposal of sorts to Bruce.
What I am proposing, is to encapsulate some of his mandala imagery, with in the 'rind' of a tire.

We both believe that there is some potent poetry, in this mating of mandalas, with tires, and we are both excited, to see what emerges from this collaboration.

So, last night, I got some specs to Bruce.

And today, I took a little trip to see my friend, Mr. Cranford, just down the street, at Cranford's Framing and Photo Supply.

Mr. Cranford has enjoyed quite a career here in Siler City, over the last 56 years! Thats since 1955, Son! As just a young boy of 12, Cranford was building and working in his own dark room, which he built from scraps from his father's construction business. Between then and now, he and his wife, an accomplished, and widely respected Artist in the area, have worked day's and nights, photographing wedding events as far away as Washington DC, or Siler City from 600 ft in the air! (Part of Mr. Cranford's business was in aerial photography, and some of this work is currently on display in City Hall).

Mr. Cranford was excited by the idea of the mandalas framed within a bicycle tire, when I showed it to him. He 'got' it immediatly, and keenly observed that this might actually be a product to sell, that we were  holding here. Mr. Cranford is one sharp tack. Mr. Cranford happily supplied me with two nice pieces of matt board, as well as some scraps he collected from his shop, which offered to me to experiment with.
It is great to have this ally in the Arts.

Mr. Cranford proudly displays a painting he just framed for a client in Greensboro,
On the right is the large piece of silvered matt board, that he has supplied me with. 

We are each players, in a new episode of artwork, that is coming, to be born, here in Chatham County.

Friday, October 21, 2011

SHOW AND TELL: The first in a series of Slide Presentations about my time spent at Hermitage, creating installing "Reclamation"

WARNING: (this is an experimental hybrid post, combining antipicipation from the day-of with reflection from the DAY AFTER).

Tonight, as part of our 3rd Friday Artwalk, here in Siler City, I will be presenting a 'slide show' about my time spent at Hermitage.

A Very Special Thanks to my special friends at Chatham County Together! and Hablando Claro, and for their generous loaning of their projector, for this event.

I will be using this blog, as a basis for presenting, and discussion.
I want to share what it was like for me to be an Artist in Residence, creating site-specific work.

Wish me luck!

PS, we also have a great band coming down from Greensboro tonight- Emily Stewart and The Baby Teeth (!).  I met this band and Shakori Hills recently, and knowing that we needed a band this month, I approached them about it. They seemed to be a perfect fit, sort of alternative country, which perhaps might be a good bridge between a lot of people around here. Its just a suspicion, but I think Alt County is maybe where its/we are at here, in Siler City, NC.

Thanks Emily and The Baby Teeth! You guys were great!!!

WELL, Emily and the Baby Teeth put on a hell of a performance, cold fingers or no. This is a top notch band, and I really hope we can give them their due, maybe in the Spring or early Summer. (they are such a 'green' band, in the sense of the color, vegetation). If not us, I hope that they get their due somewhere else. Someone said they would be good for the General Store Cafe, in Pittsboro. I concur. Also, what about the Bynum Front-Porch Music Series. YES!!

Also, a HUGE SHOUT-OUT and Thank you, to Geo DeSocio, who came in on Very short notice, to do an immaculate job on sound for the Baby Teeth. Geo is consumate professional- very well organized, methodical, stategic, considerate, and resourceful. He had top notch gear, and he knows what to do with it, pulling out the best of the band. Emily and the Baby Teeth sounded awesome!

We will have the Coconauts, chatham's own new improv troupe, giving their Siler City debut!
Are we ready? I guess we will soon see!..

YES WE WERE, THEY WERE FRIKKIN HILARIOUS! (I haven't laughed that hard in quite a while).

Lots of other great stuff going on tonight.
I really hope that we get a due crowd, for all that is in store!

I am grateful for the few folks that weathered the chilly air. But I think we've got to do better than that.

After the show, we all proceeded to my studio, for an after party party 'warm up, and a little slide show...

In attendance were: Stacye Leanza, Rita, Shawn, and Makani McKenzie, 
Stacye and Rita and Shawn
Beth, who runs an outdoor Music and Crafts Festival on her farm out by Jordan Lake, 

and the unwitting band: Emily, Doug, Sanders and Dylan!

Beth and the Band

Fortunately for me, this was exactly how many seats I had, including the blanket on the floor. Also fortunate for me, the band all seemed willing and game, and once the show started, seemed genuinely interested! I hope it was a good way for them to 'come down' from their big performance, before making the long trip back to Greensboro.

Konked Out Kid
Thanks to these souls for their good audienceship and sportly attentiveness (minus Makani)
Especially Big Thanks to Beth, for all of her awesome help with the projector, and also for her good comments and questions.

Thursday, October 20, 2011

TIRE BONANZA!!!- Journey To Tire Island...

A beautiful bounty

Where to BEGIN?

I suppose I should begin with a clean up of Jordan Lake that I participated in several years ago, at the invitation of Haw River Keeper Elaine Chioso.
There, on those muddy/sandy wooded banks, I witnessed that, in addition to your various plastic cups, beer and soda bottles, baby diapers etc that people hurl out of their windows I suppose, there was also quite a substantial a migration of tires landing on the shores of Jordan Lake.
In fact, In discussing this phenomenon with Elaine at a later party, she shared the news that there are reportedly HUNDREDs, if not THOUSANDS of these tires, piled up on islands in Jordan Lake!

The trick for the clean up crews was, and is, how to get them. Many of them are filled with water, and therefor quite heavy. Elaine said that the Army Corps of Engineers (who, in partnership with the DNR, and Fish and Wildlife, maintains the area), was considering leasing a BARGE to haul the heap of tire off of the island!!!

Now, not to be boastful or anything, but to your 'garden variety' conservationist, this might be seen as a rather large problem (and indeed it is). BUT to an enterprising tire designer / sculptor, this presented a whole nother set of speculative disposal perameters.
In two words: BURIED TREASURE!....

Perhaps I could share a quick story with you.

Several years ago, while taking a summer dip in the Haw River, beneath the Bynum Bridge, I dredged up a big blubbery tire, from the river's muddy banks; the rivers red-clay laden, iron-rich waters still sloshing about in this black, tubby loop of languer..as it had been for who knows how many years...

I enlisted this tire, because I planned to turn it into a planter, of the kind you might see in your neighbors front yard. But after I had made all of my cuts to its edge, I discovered that  when I opened it up, so Crusty was the insides of this thing, such a filthy, muddy mess, that even after a hard scrubbing by a couple of teenagers, it still bore the mark of this mud's stain...It was inpenatrable.

A few days later, I was going to try to sell my rubber wares at a crafts fair for the first time. 
I was too embarrassed to bring that hideious old muddy thing, I though surely it would ruin my entire image, and decided to leave it at home. But, at the last minute, I realized that I needed it to balance out my display, and on a whim, begrudgingly hoisted it into the trunk of my car.  

Well, was I ever surprised to find that not only was it the most sought after planter in my booth, I actually sold it twice! (and once to the then Director of the Chatham Arts Guild!).

It got me thinking, and you know how that goes.
Before long, I had written up a business plan, to partner with HRA, and some others, to turn these tires into gold. Or filthy lucre, if you prefer. 
So, the question then was, how to get my clutches on some more?....

To be continued... 

Our Fearless Captain Fran- a Man with a Plan
Buried Treasure Map!
Booty in the hold! Army Corps Ranger Steven makes a fast getaway.
Swarthy Tire Buccaneers

The Plank!

Avast Ye!

The Gallows await.

A beautiful bounty

This was the first evidence I've ever seen of tire worms in the wild...
It seems that they prefer the creamy, marsh-mellowy, white-wall nougat in the middle.
Who can blame them?
They were also infested with crouching tire ninjas.
callin' up a herd of cheeky burnt marsh-mellows, mate.

A HUGE THANKS to the Durso family, for tipping me off to this incredible bonanza, and for helping me to shepherd this flock of lost tires to the Durso's magical manger, where they now await their 'new' destiny.

RETURNING HOME: "To be marked..."

Returning to the stratosphere is never a simple thing. Come back in too quick, and you'll flare up like metoric hemroid, and either burn out or bust, of both.
So needless to say, this operation requires some pacing, and care.

And I tried to give it due respect.
Fortunately for, me I was treated to a graceful reentry.

Returning: In conclusion

In conclusion:

Well, I have some more reflecting to do, but in the mean time, I would like to share with you the ANTHEM that carried me through this experience:

RECLAMATION: Opening Night

The Grand Opening Reception
RECLAMATION: Hermitage Museum & Gardens, Norfolk, VA
Location: Around grounds, inside, in big tents.

My super good friend Arow, from Ghent RBC, REPRESENTED, BOOYAA!
Great to have him, and his lovely lovely there.

Tbis fine fellow, David had a rubber made out of wallet. I mean a wallet made out of rubber.
Yeah, you know us artists, thats how we roll...

I was in GREAT COMPANY, seen here with my Artist-In-Arms,
the one and only, Environmentalist/Photographer Ed Pollard

a very groovy person made a connection with Squire Knot

Awesome Ambiance (thanks to Lil!)

There was an awesome spread, of delicious treats, (Thanks again Lil)
...some drink was drunk...
...some dance was dunk...
...some merriment was had...

...the last thing I remember...

...that zebra blood, it'll get you every time...

Much Thanks to Edie, for documenting this event!
And to the Hermitage Staff 
for ALL of their hard work,
 making this memorable evening possible.

RECLAMATION: Upstairs- Virginia Lotus and Super Highway

The placing of Super Highway
RECLAMATION @ Hermitage Museum and Galleries
Location: Room two of Changing Galleries, upstairs, at Hermitage.

Upstairs, in the Changing Galleries, I mainly left these to my co-Exhibiting Artist, Ed Pollard.
Ed has amassed an incredible collection of photographs, which speak very poignantly to the notion of Reclamation (and, which, I believe, were the original progenitors of this exhibition).

So the way it turned out, was that I provided a centeral sculpture for each of the two rooms, which would be surrounded in Ed's painting, running around the walls of the room. This was curator Melissa Balls artistry at work, and I am very pleased by the way it worked out.

I chose one pre-existing piece for room 2, and that is Super Highway.

Super Highway is a personal favorite of mine, has a pretty good track record (Cultural Crossroads, Juried Regional Exhibition), and I thought would be a pretty darn good fit for the idea of "Reclamation".

It features a toy car, a dinosaur, and a rock (all found objects), sort of playing out this mortal drama of time, in the geologic sense.

It is a pity that I don't have any pictures of this piece surrounded by Ed's work, as I think they compliment one another quite nicely. (I didn't want to publish his work with out his permission, but may take some more pictures when I return, and approach him about it).

For the first room of the Changing Galleries, I wanted to make a particular center piece. This was to be in some ways, a 'Title piece", as indeed, the name of the show was mounted on the facing wall of this room, and below it was Ed Pollards stunning title image of the dockhouse that once hosted countless bands, in his time.
Below this, was to be my contribution, Virginia Lotus.

The original inspiration for this piece was the compass rose image that appears through out Hermitage's iconography, for instance in the gorgeous bas-relief friezes mid way up the stairs on the way up to the gallery, and most notably, in Hermitage's logo itself.

My thought was to make a sculptural version of this, using the vernacular tire flipping technique common to most of rural America.

These were to incorporate some of the cotton, which I found littering the road sides of Suffolk county, right after harvest, appearently, when I passed through last year, on the way to Spiritual Visions.

However, while I do think that many of the qualities of this material would have spoken boldly in the piece, in the end, it seemed a little bit, over the top, and it never made it it. I regret this a little bit.

But, I am very pleased with the piece that I did create, and place in this room.

It was not an easy birth. Or that is to say, I lost the one before it; this one actually came very, very smoothly; its excecution is virtually, flawless, albeit, owing in some measure to luck...

This piece was actually a bit of a departure for me, in terms of design of these planters.
Hence forth, my tire planters, and any other such planter I have ever seen, has had a round skirt around the bottom, cutting around the rim, about halfway up the side wall.
However, on this piece, I decided to try something new.

And that was to leave the negative space left by the petals in tact, thus using a single cut to form both the top edge and the bottom edge of the planter.

This was in fact, some what self serving, as, in the lotus-like design, there are alternating rings of petals, as well as a ring of leaves at the bottom or outer edges of the design.

But as I studied the line that I cut, more and more, it seemed devine...

And indeed, when I opened up the form, to reveal its murky innards to the light of day,
this cut also revealed to me its own graceful secrets of wisdom, absense and symmetry...

RECLAMATION: The Parlor Diorama

The Creation and Installation Of a Collection of Furnishings

RECLAMATION @ Hermitage Museum & Gardens
Location: large display case, upstairs, at end of hall, on way to Changing Galleries.

RECLAMATION: The Museum Hallway Downstairs

The Installation of Three Knots, Two Spheres, and a Mirror
RECLAMATION @ Hermitage Museum & Gardens
Location: The Hermitage Museum Hallway, downstairs

Another space that the museum generously offered me to use was a long hall in the Museum downstairs itself! What is especially special about this hall, is that it ends with a set of large windows, and a spectacular view of the Lafeyette River, which passes before the Museum, on its way out to the Sea…sigh.

And in front of this window, Melanie and Melissa (known henceforth as M & M) wanted to put my sculptures!

I had some delusions about this piece, I must admit.
I wanted to make a giant panel, to reference one of 3 exquisite friezes carved into panels along this wall, by the window, I am guessing by Rydingspar. And while I had been thinking to do this all in rubber, Museum Director and Art History Professor, Melanie Mathews, saw an even richer possibility. To build the thing on Plexiglass, and allow the light to shine through, like a true piece of gothic tire art should! But alas, as much as I would have loved to, I didn’t think I could pull this one off in the time I had left, so I had to let it go…
I hope someday, I’ll find a second chance..

But I was able to hang Rydingspar’s tiresphere in the adjacent window, beneath those very carvings, paying some tribute his gothic sensibilities shown above…

And this view / picture window view also became the glowing halo around the gargantuan knot, “Leviathan”, who made a return guest appearance (from Spiritual Visions 2010) and took this place of honor for the exhibition. (which seemed fitting to M & M, as they shared that Leviathan had infact been the spring board for bringing Ed and I together to make this show “Reclamation”.

The siting of the large knot, before this large, laced window, turned out to be a stunning combo, as M & M insisted that he be tilted up, as they done in Spiritual Visions (leaning him against the wall). With no wall to lean against here, this was to be an installation challenge. But, thankfully they relieved me of this duty, and Tom rose to the challenge, deftly employing a couple of black wedges behind him. The result was that L stood there (I would say majesticly( before the window, radiating his powerful, and stately presence, while the light from the window shown through his center, which itself became another window. A true leader, that one. And a brilliant use of this sculpture, I have to hand it to them.

Leading up to Leviathan were two smaller knots, creating a series of three sort of visual stepping stones. I felt that this was really important, and I begged and scraped and pleaded endlessly for permission to do this. (this was only the second time that they had allowed a new artist’s work in the museum itself). To me, the series of three was very important, for several reasons. For one, well, I’m big on threes, they just come up over and over again in my work.

Of course, there is the association of the holy trinity, which HAS found its place in Hermitage’s artistry. You know, when you have a series of three, something magical happens, because you have a story; a beginning, and middle, and an end. For people to be led down this path, with a glorious destination awaiting them, just seemed like too great of an opportunity to be missed, especially in a place with such spiritual underpinnings.

         And this series was in good company. The first of these knots landed smack in front of a stone Bhudda statue from the ??? century, flanked by two large, impressive, ornate, turquoise gourd-like ceramic vessels, one on each side! (I'm not allowed to publish photo's of this on the web, unfortunately).

This knot, I called “Norfolk Knot”, and was sort of my tribute to the sea, or waterway, which is a central part of Norfolk’s history.
To bring this marine element in, I used a really delicate and graceful strand of pillow trim that I had culled from the Scrap Exchange, bearing a lot of cool, aquatic tones. This I wrapped along the edge of a tredknot with its own strange history (it was once stolen from my car and later recovered…good story here, ask me sometime).
After some puzzling and reconfiguring, I was able to lay this along this edge in such a way that the lip of the tire’s edge, which I always strain to leave intact, acted as sort of a border or ledge, holding this ribbon in place (I never did need to glue the ribbon down, it just rested, nestled in place).

Visually, this provided a linier black edge, which made a strong visual impact, particularly as the three facets of the tire and ribbon converged at the knots center. The effect I find to be stunning, and I consider Norfolk Knot to be one of the finer specimens in the show.
         And of course, to present this knotted tire, with its band winding around itself, in a symbol of continuity and regeneration, before this silent, ancient statue of Sidharta, was, well, a little bit mind blowing….

         Next up we had “Queen’s Squire Knot”, which is another tribute to Charles Woodsend, the chief builder and sculptor of the house.

         For this piece, I used a knot that I had built previously, from a farm implement tire with a very peculiar tread. I’m not sure what the repeating shape is called, but it has always had the feel of some medieval crest. Very Middle Ages, this knot. To enhance this aspect, I had added a pillow trim whose various faire colored strands looked like they had been pulled straight from a medieval tapestry.

And indeed, this piece found its own perfect place in this hall, landing in between Norfolk Knot, and Leviathan, smack in front of a particular painting that Mrs. Sloane had commissioned while in Europe, showing a mideval scene of Charles Woodsend, in his frock clothe, carving away at some frieze or other, as Mrs. Sloane in her gown and Guenivere Princess hat, and her children, looked on approvingly. It is actually a really nice painting, and the colors in the painting are reflected perfectly by the colors in the knot. (unfortunately, I am not allowed to show an image of this on the internet).

Also, back up the hall on the same side, about 10 paces up, is a display of a medieval tapestry using an old technique called ‘stump work’, in which the artist uses a carved block of wood to act as an under-form onto which they model the tapestries bas-relief features.

So point being, I feel that these three knots really found their perfect place, interacting with and reflecting various aspects of  the house, its history, the permanent collection, and the environment surrounding the Sloane’s house.

To this end, with M & M’s good help, we also found a great place in this hall for a mirror that I had recently concocted for the Festival for the Eno- “Tar Pit Mirror”, featuring a poster of fossilized trees, a roofing tar inlay, and a ‘Tyranosaurus’ hybrid mountain bike tire.

As you can see, the creamy yellow tones of the mirror’s main surface matched the color of the walls in this hall perfectly, as did the browns match the hues of the particular wooden wall it was mounted on. And what’s more, they found me a spot to hang it above a couch, where the half circles carved in the head board above really harmonize with the circular mirror nicely.
Art History Professor, Virginia, who adopted Queen’s Squire Knot on the night of the opening, told me later that she thought the piece fit so well there, that they should keep it there! I’ll second that!
My hat is off to M & M for this excellent placement.

         So, in summary it was really both an honor and a thrill to have the chance to show these pieces downstairs in the museum like this. Of course, there is the ego excitement of showing my tire artworks in a museum, which is substantial. But moreover, what artist wouldn’t get off on being allowed to bring their artwork into a museum, and place the thing near an old masterpiece, sitting there in the corner, maybe looking a little bored and drowsy. What parent (of an artwork) wouldn’t love to introduce their children to a wisened, wrinkly old senior at a party, with a spark in their eye, and watch the interactions that ensue?
To watch these two generations light up in one another’s presence.

Mission Accomplished.