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 • Acrylic •Oil •Watercolor/Gouache •Encaustic •Handmade Paper •Jewelry •Pastels/Oil Pastels •Printmaking •Sculpture •Glass/Neon •
 
John Lash
Metal Sculpture
 
 
Artist Bio .............Resume

 


Most of John Lash's work makes use of reclaimed steel. Parts may come from a scrap dealer, the pipes could from a sprinkler system in a building that was being tom down. The gongs come from tanks for oxygen and
CO2 from a beer taping system, and other materials were factory cast offs, scraped before they ever became anything. The leather pads are cut from one of John's welding aprons.

A wax finish has been applied to prevent rust, this finish will last for years to come when kept in doors.

There is no maintenance required, just dust with a dry cloth. If the finish becomes damaged it can be touched
up with Johnson's Paste Wax or clear automotive wax.

If out door placement is chosen please understand that rust will occur, it is just the natural order of things.



John Lash, Rainstick J122, 2011, Steel, 1" diameter x 30"

 

 

John Lash, Rainstick J124, 2011, Steel, 2 1/2" diameter x 27"
detail below

 

 

 

 


(above) John Lash, Rainstick J127, 2011, Steel, 1 3/4" diameter x 24"
(below) John Lash, Rainstick J125, 2011, Steel, 1 1/2" diameter x 25 1/2"

 

 

John Lash, Crane, 2011, Steel, 17 1/2" x 12" x 2"

 


John Lash, Singing Bowl J118, 2011, Steel, 8" x 8" diameter x 8"

 

Singing Bowls

Singing bowls have been around for thousands of years and for thousands of years people have
been making them sing. Its not hard, just rub the stick around the out side rim of the singing bowl.
Getting the right speed and pressure is important to make it sing.
Try using slow speed, taking one to two seconds to go around once and moderate pressure. Keep
the stick in contact with the rim and keep it moving. It may take as much as half a minute to
really get it singing.

John Lash, Singing Bowl J119, 2011, Steel, 10" x 10" diameter x 8 "

 

 

John Lash, Song Bearer , Gong J131, 2011, Steel, 14" x 15" diameter x 7 1/2"

 

 

John Lash, Gong # 27, 2010, Steel, 17 1/2" x 12" diameter x 2"

 


Gong No.27

Gordon was long ago charged with the duty of ringing the bell when needed, now he stands ready to do
just that. First he must lean back hard to set the striker, then he leans forward to step on the pedal.

Gong No.27 is a made from salvaged and recycled steel. The base was made from part of an old boat hoist. Industrial scrap was the source for the pipe and rod. The bell is the top from a medical oxygen.
cylinder. All of the metal used in this piece is carbon steel. A wax finish has been applied to prevent rust, this finish will last for years to come if kept indoors. There is no maintenance required, just dust with a dry cloth.
If the finish becomes damaged it can be touched up with Johnson's Paste Wax or clear automotive wax.

If outdoor placement is chosen please understand that rust will occur, this is just the natural order of things.

The gong is signed and dated "Gong No.27", " J109 06/10" on the base.

 

 

 

John Lash, Gong #28 , 2010, Steel, 7 1/2" x 51/2" x 11"




Gong No.28

This piece represents something a little different. Some times you need to look at the world from a slightly different perspective.

Gong No.28 is made from salvaged and recycled steel. The bottom of an old medical oxygen tank was used to make the gong. Scrap pipe and snow plow parts were used for the base. The ringer came from left over steel
rod and the leather was cut from a welding apron that was no longer needed in the shop.

The only maintenance required is dusting with a dry cloth. If the finish becomes damaged it can be touched up with Johnson's Paste Wax or clear automotive wax. If outdoor placement is chosen please understand that rust will occur, this is just the natural order of things.

I have signed and dated Gong No.28, "J113 09/10" on the back.

 

 

When 17 Things Line Up

Found objects were the source of most of the steel in this piece. The square material came from an old
handrail that I took from my front porch. Most of the pipe came from a friend's farm in northern Wisconsin.
The solid round material was gathered from scrap heaps of forgotten origin and the wooden crank handle
was cut from a broken shovel handle.

In order to keep this machine running like a well oiled machine it must be oiled from time to time. Depending
on on how often it is used every six to twelve months should be plenty. Every place where one piece of metal
moves over another place a small drop of oil, 3 in 1 Oil is a good choice. Crank for a few minutes to work the
oil in to all the little places where it needs to go. Next take a clean cloth and wipe up any excess oil. Then with
the same cloth wipe down all other metal surfaces. Spreading the excess oil on the metal will help prevent
rust. If your rag gets dry add a few drops of oil. Using a light coat of oil is adequate rust protection for indoor placement.

If outdoor placement is chosen it will rust and stop working, this is the natural order if things.

It is signed and dated "When 17 Things Line Up", "EAJ 094 07109" on the back foot.

 

Biographical Information

 

John Lash

 
Artist Statement
 

 

Artist's Statement

My whole life I have been fascinated by machines.  The way parts move and interact, the flow of energy, repetitive motion, a process chugging away, captured my imagination and thoughts as a young boy and as an artist today.
Over the years I have come to believe that the relationship we have with machines is more symbiotic than one of master and servant.  The question is often asked, ‘do the machines we build serve us or do we serve them?'  I don't believe this can be answered in the positive or negative.   Rather, we serve each other for mutual benefit. 

Machines require maintenance, energy, and the occasional repair, from us.  We require everything from road building to coffee making from them.  But it is more than that, machines continue to evolve and become more complex because of us and without machines we would still be in the Stone Age.  Neither machines nor people could be where we are today with out each other.

For this relationship to work there must be interaction.  Machines require guidance from us in where or how to go, and we need them to in order to know what time it is, or to clean the air we breathe.  In the current state of our society having a relationship with machines is unavoidable.

My work has an industrial feel but I also put a great deal of humanity into each piece.  When a piece is finished it remains a mere object, it is not until a human interacts with it that it becomes complete.  The machines I make have no secrets, their workings are all plain to see.  This accessibility invites interaction.   I want people to think about how machines work, what they do for us and what the rolls we play in each other's existence are.

Whether we feel a sense of dread or a sense of joy or nothing at all when interacting with machines that interaction is inevitable.  I aim for joy.

John Lash

 

 

 

 
Resume
 


JOHN LASH

Education:
UW Madison 1991-1993

Juried Shows:

Mount Horeb Art Fair, Mount Horeb WI 2006-2009
Spring Green Arts and Crafts Fair, Spring Green WI 2008
Monument Square Art Fair, Racine WI 2008
Waukesha Art Fest, Waukesha WI 2008
Cherryfest, Jacksonport WI 2007-2008
Dragon art Fair, Deforest WI 2006

Galleries:

Grace Chosy Gallery , Madison WI 2009-Present
High Street Gallery, Mineral Point WI 2007-2009
Zen Gallery, Cambridge WI 2008
Kaleidoscope,  Mount Horeb WI 2006-2008

Works:

Industrial Gong : Private collection 2009
Singing Bowl : Private collection 2009
Contact : Private Collection 2009
Pagoda Gong : Private Collection 2008
Jeeves : Epic Systems 2008
Dream : Private collection 2008
Wood With Chimes : Private collection 2008
Hex Gong : Private collection 2008
Sounder : Private Collection 2008
Teacher Gong : Private collection 2007
Tranquility : Private Collection 2007
Chain Gong : Private Collection 2007
Integration : Private collection 2007
Double Gong : Private collection 2007


 


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