jeff goll sculpture and painting

plains landscape 1

2008-02-06T20:17:00.001-08:00

12" x 12" oil on birch panel 2007

plains landscape 2

2008-02-06T20:15:00.001-08:00

12' x 12" oil on birch panel 2007

plains landscape 3

2008-02-06T20:13:00.000-08:00

12" x 12" oil on birch panel 2007

plains landscape 4

2008-02-06T20:11:00.000-08:00

12" x 12" oil on birch panel 2007

plains landscape 5

2008-02-06T20:09:00.000-08:00

12" x 12" oil on birch panel 2007

plains landscape 6

2008-02-06T20:05:00.000-08:00

12" x 12" oil on birch panel 2007

2007-05-23T11:33:00.000-07:00

The Heavens
collage, 24" x 18"
2006

RETROSPECTIVE

2005-10-28T08:03:00.000-07:00

Hello,

This web log is my do-it-yourself, digital, mid-career retrospective. The following images represent the last fifteen years of my creative life. The work is not in chronological order but each grouping is dated and has other pertinent information alongside. The log is divided into months. Previous months can be accessed by clicking in the Archives. Click on the images to see larger versions. I hope you enjoy it.

Please check in from time to time as I will continue to put up new work as it becomes completed. If you have questions please get in touch.

jeff goll

HIDDEN ARCHIVES, LOST LIBRARIES

2005-10-27T19:39:00.001-07:00

Here are just a few images of the first photography project I have pursued in over twenty years. All images taken in 2005

This is a found library buried in the roots of a tree near Penland North Carolina.

2005-10-27T19:39:00.000-07:00

close up of an archive hidden in the roots of a tree int the mountains of north carolina.

2005-10-27T19:35:00.000-07:00

parts of a lost library washed up onto an outer banks beach after a storm

2005-10-27T19:29:00.000-07:00

lost library

2005-10-27T19:24:00.000-07:00

hidden library found on edge of my driveway under monkeygrass

4force, 12x12", patinas on copper, paper, found object, 1990

2005-10-25T18:14:00.000-07:00

These are from a series of mostly two dimentional assemblages made with copper and found objects soon after I arrived in North Carolina.

no, 12x12", patinas on copper, steel, found object, 1990

2005-10-25T18:12:00.000-07:00

three suns, 12x12", patinas on copper, 1990

2005-10-25T18:10:00.000-07:00

el salvador, patinas and steel, 24x18", 1990

2005-10-25T18:06:00.000-07:00

lure, 12x12" patinas on copper, steel, 1990

2005-10-25T18:05:00.000-07:00

cargo, 12x12", patinas on copper, steel, 1990

2005-10-25T14:32:00.000-07:00

2005-10-25T14:16:00.000-07:00

float, 36x24", patina on copper, steel, 1990

2005-10-24T18:07:00.000-07:00

sail, 36x24", patinas on copper, steel,1990

2005-10-24T18:04:00.000-07:00

tongues, 12x12", patinas on copper, steel,

2005-10-24T18:03:00.000-07:00

windtown, 12x12", patinas on copper, 1990

HUMANITIES EXPERIMENTS

2005-10-05T21:10:00.000-07:00

Existential Dilemma Vacuum Tube, side view The following pieces are early prototypes of experimental machines designed to detect, measure, capture or store a variety of theorized energies not yet recognized by conventional science. Ironically, while many of these energies are held in conceptual esteem by the humanities and social sciences, these disciplines also do not contemplate the possibility of their physical existence. Examples of energies that are explored in experiments are the social contract, irony, existential anxiety, doubt, and romantic love.
Below is the rationale for the first image.

DILEMMA AVOIDANCE VACUUM TUBE

Instructions: The viewer reads the offered texts within the vacuum into the "vacuum
feedback loop microphone". After multiple readings, the collection crystal is worn or carried on the body to release and disperse metaphysical anxiety energy.

Theory: All human anxiety has its roots in the principle dilemma, "Is there meaning to human life and what is its nature?" This question is a priori unanswerable but this doesn't prevent humankind from burning mountains of time, energy, and creativity attempting to find an answer.
The DILEMMA AVAIDANCE VACUUM TUBE provides us a protective tool that inoculates humans from addiction to this question. Readings create a buildup and release dynamic whose energy imprint is transferred to the quartz collector. This energy is created by the "anxiety shear" instigated by the "release phase" at the end of the tube. This metaphysical anxiety release energy (MARE) can be measured in Mangstroms. Minute amounts of mangstroms are released through the tube and into the collector upon each reading. Depending on the metaphysical anxiety potential present in the individual reader, between 2 and 20 mangstroms are released and collected. Approximately 40,000 mangstroms or between three and five thousand readings will charge a two pound quartz crystal. When pulverized this charged powder will provide metaphysical anxiety protection to a family of four for approximately 20 years depending on level of anxiety present.

Prospects: By helping to alleviate the human addiction to meaning, the ADVT may be an invaluable pain reduction-pleasure enhancement tool. Tests are underway however to determine whether minimal levels of metaphysical anxiety are necessary for optimum human functionality.

2005-10-05T21:08:00.001-07:00

Existential Dilemma Vacuum Tube, front view, detail

2005-10-05T21:08:00.000-07:00

Vacuum Tube, detail

2005-10-05T21:07:00.000-07:00

Lab Table

2005-10-05T21:06:00.001-07:00

IRONY DETECTOR

Instructions: Place text element in filiment holder. Reader speaks text into ID microphone. Compare color tone of quartz crystal to color coated irony eggs.

Theory: Irony is present in the human brain and detectable in the human voice but not present in text per se. Authors may intend irony and readers may recieve it but in text form and without a human vector the irony is said to be in "latent" form. Though irony cannot as yet be measured directly in brain waves, the human voice can be measured for minute amounts through the detector's rational audio continuum system. Advances in this technology allow the instrument to detect textual irony even in the voice of an "innocent "reader, that is , one who is unaware of the irony embedded in the statement.

Prospects: While irony is far too unstable to be "captured" and stored, with this detection device the artist forsees the large scale testing of canonical and non-canonical texts for meanings as yet undiscovered by either traditional or even advanced deconstructive methods.

Irony Detector

2005-10-05T21:06:00.000-07:00

Irony Detector, detail

2005-10-05T21:05:00.001-07:00

Doubt Amplifier

2005-10-05T21:05:00.000-07:00

Doubt Amplifier, detail

2005-10-05T21:04:00.000-07:00

SOCIAL FILIMENT REFRACTOR

Instructions: Read the filiment text within the bulb while viewing the prismascope. Detect which end of the color spectrum, red or violet, is more diffuse and which is more distinct.

Theory: The written word has the ability to strengthen or weaken the social contract at any particular moment in any particular society. The Social Filiment Refractor (SFR) measures the strength of this social positive/social negative energy by detecting nuanced changes in refracted light while particular texts are being viewed and comprehended. Specifically, when a viewed text is understood to weaken the social contract by a particualar reader, proximate refracted light tends to distort by blurring color boundaries at the red end of the color spectrum. Conversely, text understood to strengthen the social contract distorts the spectrum at the violet end. It is as yet unclear whether this distortion effect within the color spectrum creates a feedback loop to further strengthen or weaken the social contract within the reader. Also unclear is the mechanism by which social contract energy distorts refracted light rays. More study is underway.

Prospects: The SFR may be used to help explore the creative dynamic between the building and the dismantling of the social contract through time. It may also be useful as a creative censorship efficacy tool to help society keep its social contract dynamic within accepted parameters.

Social Filiment Refractor

2005-10-05T21:03:00.000-07:00

VOICE ACTIVATED LIMBIC RESONATOR

Instructions: In a firm voice, enunciate the full name of the first person with whom you were romantically in love. Observe crystal scope for changes in interior crystal pattern.

Theory: The so called "first love" experience serves as a template for all future relationships. Limbic response to memory of "first love" can be detected and measured through voice modality. Strong association will be amplified by the VALR and directed through the "moonstone" crystal. Increased pattern formation from a "neutral state" indicates strong limbic connections remain intact. Decrease in pattern formation (increased randomness) indicates weak or non-existent limbic connection.

Prospects: The VALR would be an invaluable tool for therapists in efforts to distinguish between embedded "root causes" and temporal "skill-based" deficiencies in relational disorders.

Voice Activated Limbic Resonator

2005-10-05T20:59:00.000-07:00

experimental narrative setup

2005-10-05T08:19:00.000-07:00

Weight of the World, partial installation view,1992, The following large sculptures constitute an installation entitled THE HUMAN ARMADA, and include five component sculptures, the Weight of the World, Sacrarium, Library Font, Implement of Propaganda, and Mechanics of Faith. This intallation in various forms was exhibited at the Durham Arts Council, the North Carolina Museum of Art, Piccolo Spoleto in Charleston, SC, Nexus in Atlanta, and Winthrop University. Overall the piece speaks to the nature of faith and how humans invented and deploy it.

2005-10-05T08:11:00.001-07:00

Weight of the World, partial installation view

2005-10-05T08:11:00.000-07:00

Weight of the World, partial installation view

2005-10-05T08:10:00.001-07:00

Weight of the World, detail

2005-10-05T08:10:00.000-07:00

Weight of the World, partial installation view

2005-10-05T08:09:00.000-07:00

Weight of the World, detail

2005-10-05T08:08:00.001-07:00

Weight of the World, detail

2005-10-05T08:08:00.000-07:00

Weight of the World, detail

2005-10-05T08:07:00.001-07:00

Weight of the World, detail

2005-10-05T08:07:00.000-07:00

Weight of the World , detail

2005-10-05T08:06:00.000-07:00

Library Font, wood, cotton fabric, iron bar, copper, books,fish lures, water, 9'x7'x7',1992

2005-10-05T08:04:00.001-07:00

Library Font, detail

2005-10-05T08:04:00.000-07:00

Library Font, detail

2005-10-05T08:03:00.000-07:00

Sacrarium, recycled wood, glass, books, copper, rope, cotton fabric, , 18'x10'x14', 1992

2005-10-05T08:01:00.000-07:00

The Mechanics of Faith, 12'x 14x 7', recycled wood, wheelchair, accordian, copper, glass, 1993

2005-10-05T07:58:00.000-07:00

Implement of Propaganda, 12 'x 12'x 4', recycled wood, chemistry tubes, books, wheelbarrow parts, drill bits,

2005-10-05T07:55:00.001-07:00

Implement of Propaganda, detail

2005-10-05T07:55:00.000-07:00

Implement of Propaganda, detail
DON'T FORGET TO GO TO THE ARCHIVES FOR MORE IMAGES

From AVIAN ARCHITECTURE

2005-09-27T17:53:00.000-07:00

In1991 I had a show in Durham entitled "Avian Architecture". These are a few examples.
Bird Chapel, mixed materials, 12x15x15, 1991

2005-09-27T17:52:00.000-07:00

Bird Cabin, mixed materials, 20x20x20, 1991

2005-09-27T17:51:00.000-07:00

Bird Parthenon, mixed materials, 20x20x20, 1991

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Bird Mosque, mixed materials, 20x24x20, 1991

2005-09-27T17:49:00.000-07:00

Bird Mausoleum, mixed materials, 15x15x12, 1991

2005-09-27T17:47:00.001-07:00

PATINAS ON COPPER /LARGE PANELS

2005-09-27T17:47:00.000-07:00

In 1993 I began working with patinas on copper on a much larger scale. These are three of eighteen works on 3 by8 foot copper panels. Using chemicals to paint on copper is elusive in that the chemicals are transparent like water and the images/color doesn't appear for from several hours to several days after applicaton. It was the randomness of the result that attracted me to this process.
The Route from Nothing to Nowhere, patinas on copper, 3x8 feet, 1993

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My Liar's Heart, patinas on copper, 3x8 feet, 1993

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A New Jerusalem, patinas on copper, 3x8 feet, 1993

2005-09-27T17:44:00.000-07:00

new jerusalem, detail

2005-09-27T17:43:00.000-07:00

Babel, patinas on copper, steel, 3'x8', 1993

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Babel, detail

2005-09-27T17:41:00.000-07:00

Four Horsemen, patinas on copper, 3'x8', 1993

2005-09-27T17:40:00.000-07:00

No Home in This World, patinas on copper, steel, 3'x8', 1993

2005-09-27T17:39:00.000-07:00

No Home in This World, detail

CIRCUS PAINTINGS

2005-09-27T17:33:00.000-07:00

The following are a few of the paintings I have done of circus performers. When I began , most the the performers were anthropomorphized animals. Later, I used human performers but put them in impossible circumstances or doing nearly impossible tricks.

Juggler and Squirril, oil on board, 24x24, 2001

2005-09-27T17:32:00.000-07:00

Sister Act with Accordion, oil on board, 24x24, 2002

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Bombs and Ballerinas, oil on canvas, 18x18, 2001

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Performer and Sailing Ship, oil on canvas, 18x18, 2002

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Giraffe Act, oil on canvas, 18x18, 2001

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Night Aerialist, oil on canvas, 18x18, 2002

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Saturn Garden, oil on canvas, 18x18, 2002

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Stone Sails #2, oil on canvas, 12x12, 2002

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Stone Sails #1, oil on canvas, 12x12, 2002

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Guide Birds, oil on canvas, 18x18, 2000

2005-09-27T17:23:00.000-07:00

Strength Act, oil on board, 24x36, 1999

2005-09-27T17:22:00.000-07:00

Aerialist Act, oil on board, 24x36, 1999

2005-09-27T17:21:00.001-07:00

Stilt Act, oil on board, 24x36, 1999

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Escape Artist, oil on board, 24x36, 1999

2005-09-27T17:19:00.001-07:00

Evening Practice Session, oil on canvas, 36x24, 1999

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Command Performance, oil on canvas, 36x24, 1999

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Breakaway, oil on canvas, 15x15, 2000

2005-09-26T16:25:00.000-07:00

Equine Balancing Act, oil on canvas, 12 x12, 1999

2005-09-26T16:23:00.001-07:00

airplanes and ostriches, oil on canvas, 12x12, 1999

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untitled, oil on canvas, 12x12, 1999

2005-09-26T16:22:00.000-07:00

Recovery, oil on canvas, 12x12, 1999

2005-09-26T16:21:00.000-07:00

Astronomy Lesson, oil on board, 24x24, 1999

2005-09-26T16:20:00.000-07:00

Last Dance, oil on canvas, 12x12, 1999

2005-09-26T16:19:00.000-07:00

three rings, oil on canvas, 36x48, 1999

2005-09-26T16:18:00.000-07:00

sweet science, oil on canvas, 1999

2005-09-26T16:13:00.000-07:00

GEOGRAPHY LESSONS

2005-09-25T13:36:00.000-07:00

The next set of images is from a body of work that borrows heavily from cartography. The materials are mostly copper and steel . The patina and metal molding processes employed here I first encountered as a student at Penland School in NC in 1990.
A Global Desire, copper, patinas, paper, 1992

2005-09-25T13:35:00.000-07:00

Vulnerable on All Fronts, copper, patinas, paper, 1992

2005-09-25T13:34:00.000-07:00

Victims of Our Own Strategy, copper, patinas, paper, 1992

2005-09-25T13:33:00.000-07:00

Three Planets, copper, patinas, 1991

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Three Planets, detail, copper, patinas, 1991

2005-09-25T13:31:00.000-07:00

Red Planet, copper, patinas, painted steel, 1993

2005-09-25T13:30:00.001-07:00

Red Planet, detail, copper, patinas, painted steel, 1993