This is part of a presentation we’re making to an educational institution that has expressed interest in outdoor sculpture.  I’d love to tell you who they are, but at this point am preferential toward mysteries.  Lyman loves the location, and the client loves his work.  Sounds like a promising marriage to me.

Started yesterday by having breakfast with Stan Herd and Scott Richardson in Lawrence.  Stan of course is the World’s Greatest Crop Artist.  Scott is a producer who often works with Kevin Willmott, and was behind the last two films, Bunker Hill and The Only Good Indian.  Wes Studi had a role in the latter, which did well at Sundance and should be distributed later this year.

After that I met my sons for a quick bike ride into KC.  Well I don’t know if it was exactly quick, but we made the 40-mile trek in a few hours, with breaks for lunch and whatnot.   This shot is along one of the river roads.  Beautiful day with an immortal autumn sky–the kind that actually makes you feel immortal.  Of course at 52 and with grey beginning to show, I ain’t, but the fantasy’s nice.

Dirt Road, Flint Hills,  Phil Epp

Lewis, Rice and Fingerish commissioned us earlier this year to provide art for their renovated offices.  Below, and above, are a few of the pieces.

 

Sunlight Sonata, Dan Coburn

 

After Hannibal, Allan Chow

The painter Jane Booth and I taking measurements at SMMC.  Well she’s taking measurements, I’m taking the picture (and a pretty lousy one at that).  But what can it mean?  A series of works similar to the one below.  Details after we finish.

The Falls, Acrylic on Canvas

Went to see the new Quentin Tarantino flick last night.  Absolutely bloody brilliant–and I do mean bloody.  The writing, directing and acting are all impossibly tight.  Damned admirable film.  Don’t know how Holocaust survivors will feel about it though.