Blanket Sea

Arts & Literary Magazine

Category: Art (page 2 of 3)

Art by Chris Cox

Figure 1. The artist Chris Cox Wild_Canary in his small, cluttered home studio, holding a foam scale 2 plug of the head of his design, “Windy.”

Figure 2. “POD” by Chris Cox Wild_Canary installed in Providence, RI, since May 2016. The artists premier sanction public large scale sculpture the sculpture stands 7′ tall and 12′ in diameter the cluster of six black, fiberglass, monolithic, abstractly shaped panels reveal whales within the negative space created by their silhouettes when considered in pairs.

Figure 3. The sculptural design “Reindeer” being seen mid-fabrication to a scale of 3 based on the original maquette [seen next to its larger cousin]. This monumental abstraction of a wooden children’s Christmas toy stood 5’6″ tall 2′ wide and 6′ long and was installed in The Arcade in Providence, RI, for the 2017/2018 holiday season.

Figure 4. “The Windy Origin Edition AP” seen from behind. A minimal abstraction of a dog, this sculptural design is in the proccess of being fabricated 11′ tall, 12′ wide, and 17′ long, for temporary exhibit in the Rlying Horse Outdoor Sculpture Exhibition in South Hamilton, MA, August – November 2018. Seen in the wooden scale 1 Origin Edition format three angular hook shaped beams make up the legs and tail of the dog, while the dogs head is a curvy boomerang shaped panel, filled with holes of varying size that make the canine’s piercing gaze and give interest to the ears. Not only does the stance of this abstract depiction of my dog create a sense of motion, the sculpture itself can move as it is held together with an unbonded steel pin system, allowing for interaction and play with the piece by being able to swing the dogs tail and the legs in relation to one another, making the dog come alive with its ability to assume different stances.

Figure 5. “The River Crab Origin Edition AP,” defined by sharp, edgy, contemporary lines. A futuristic abstraction of a crab, this sculpture is of engineered interest, modular in design four wooden leg components contact the ground at their extremities and meet in the center at a carbon fiber junction plate which levitates above the ground plane, due to its connection to the legs by way of a steel pin system. Above this black junction plate seemingly floats a iridescently white, fiberglass plane that curves through axis, making the head of the crab.

Figure 6. “The POD Origin Edition AP” seen in the artists home with numerous other maquettes hanging on the wall behind it. The design created in this wooden format 12 times smaller than it stands in Providence, RI.


Artist’s Statement

Having dropped out of the local community college in the first weeks of an artistic education due to mental illness, Chris Cox is artistically self-taught but trained in fabrication processes. Within the artist’s aesthetic, representative abstractions are visual metaphors of rules and lessons of life learned through the survival of schizophrenia. In Wild_Canary’s sculptural practice, all his designs start off as small maquettes, most commonly made of wood and fiberglass. Once a design has been created, he makes careful plans to recreate it on different scales. The artist viewing all the maquettes as future large-scale creations. Using the skills and experience gained through employment as a boat builder and custom fabricator, the artist is able to consider the large-scale fabrication of the design as he is creating its concept, preemptively solving problems. Considering the transportation and installation of the large scale artworks, Cox favors composite fabrication, thanks to its light weight and strength.

Although his artistic ambitions focus is on creating a legacy of large scale sculpture, Wild_Canary [Cox] is in the practice of creating smaller scale sculptures, most notably a collection of limited Origin Edition sculptures. The sculptures made in the Origin Edition format are hand crafted to be the closest recreation of how his designs were first born as concept maquettes. These Origin Editions are built in small limited batches, to scale one, by directly tracing off the designs’ original concept maquettes. Using the same simple materials, tools, and methods the concept maquettes were created with. Due to the nature of the materials and fabrication methods, each piece in a design’s Origin Edition, while crafted with great care to match the original concept maquette as closely as possible, is still subtly unique and one of a kind. Due to the Origin Edition’s format, the sculptures of the edition have a quality of historic importance and appeal, memorializing the moment of the design’s creation. Allowing the collector to peer back in time, as his career progresses, and remember his artistic legacy’s humble origins, for this reason, the sculptures in this format are called “Origin Editions.”


Chris Cox, known on Instagram and other social media as Wild_Canary, is a self-described sculptor surviving schizophrenia. Graduating from the International Yacht Restoration school with certifications in composite manufacturing and repair; later working as a custom fabricator of large scale sculptures at Amaral Custom Fabrications. Taking the skills learned through years of employment experience to create his own designs on a monumental level. Starting with mid scale sculptural graffiti installations and later making his premier sanctioned large scale public installation in 2016, entitled “POD,” still installed in Providence, RI, and standing 7′ tall and 12′ in diameter. For the 2017/2018 holiday season, the artist built and installed a 5’6″ tall, 2′ wide, and 6′ long sculpture entitled “Reindeer” inside The Arcade in Providence, RI. Cox has just executed a successful crowdfunding campaign to build a new sculpture, entitled “Windy,” a 11′ tall, 12′ wide, 17′ long abstraction of a happy dog, to be part of the Flying Horse Outdoor Sculpture Exhibition in South Hamilton, MA, this August. Being quoted as saying [he] “is so determined to create a legacy of large scale sculpture, it seems destined.”

Art by Brian Michael Barbeito

“The Wild Moss”

(This photograph is of dark green wild moss that is strewn out over a long log. The green moss is thick and has received much sun and light. It is like a cushion or carpet and seems to still be growing.)

“Autumn Wildflower”

(This is a wild flower that is growing in the fall field. In the back are a blue sky and the tree line that is green because it is mostly made up of Pines. The flower has light brown and whitish shells that burst open and inside is a cotton or cotton-like material that comes out, but stays attached to the main flower while blowing around in the wind.)

“Berries Beside Log”

(These red berries are growing beside a large log and though it is a shaded area, the berries are in a spot where there is just enough sun that comes in to help them along. And they are hidden from people and animals, seeming to live in a kind of small secret habitat.)

“Clover Flower on a Hill”

(This flower is growing in the summer on a large and vacant hill where not much else grows. It is white and pink and is a type of clover. There is the cumulus clouds and blue sky overhead and the surrounding field around the flower and part of its stem.)

“Holly Plant”

(This is a holly plant. They are hidden off the paths and at first might not be noticed. The little berries that grow on them are delicate, white, red, and usually in amidst and hidden somewhat behind the larger plant. The red parts show or shine amidst deeply textured shades of green.)

“The Four Mushrooms”

(These mushrooms are a group of four that grow on top a barren tree stump in the deep forest. No animal or person has eaten them or knocked them off or troubled them. They are so close together that they have become shaped like individual entities trying to squish in this position or that for space. From left to right, the first is flat, the second is forming a V shape in order to fit beside 1 and 3, and the 3rd is growing sideways like a hat falling off a stem, while the 4th is more stretched out as it has more space.)


Artist’s Statement

These visual frames are taken in the woodlands and fields of nature trails in Southern Ontario. They are part of an ongoing photo narrative titled Pastoral Mosaics, Journeys through Landscapes Rural. The four seasons visit the areas where I walk, and the main trails, side paths, and deeper forests are rarely the same. The differing weather makes the same acres of land a highly interesting atmosphere. For instance, the same path can show verdant moss and colorful wildflowers on month, and then change to autumnal browns and beiges the next, followed by snow and ice, and of course, later on, all the new blossoms that that spring brings. At the beginning of this photographic journey, I only noticed vast areas of trees and perhaps some feral shrubs or flowers. However, as time went on, I discovered that there were many flora and fauna around. These include, but are by no means limited to, peculiar looking mushrooms of all shapes and sizes, areas saturated with dragonflies that seem out of a fairy tale, sunny summits inhabited by snakes, and small secreted creeks where water spiders travel on top and little fish, agile and coyly alert, dart around underneath.



Brian Michael Barbeito is a Canadian writer, poet, and photographer. Recent work appears at Fiction International from San Diego State University, CV2: The Canadian Journal of Poetry and Critical Writing, and at Catch and Release: The Columbia Journal of Arts and Literature. Brian is the author of Chalk Lines (Fowl Pox Press, 2013, cover art by Virgil Kay). He is currently at work on the written and visual nature narrative titled Pastoral Mosaics, Journeys through Landscapes Rural.

“A Burst of Butterflies” by Christine Stoddard

(A painting of a woman with long brown hair wearing a red top. She has a red blindfold around her eyes. She is surrounded by butterflies against a yellow background. Her skin is covered in intricate patterns.)

Artist’s Statement: 

The veil of ignorance can prevent us from knowing who we are. But we owe it to ourselves to explore our potential and seize our power. Though introspection can be difficult, it’s necessary. This is not simply a call to action for reflecting on our errors. Of course we must recognize our mistakes and grow, but we must monitor our negative self-talk, too. We must reflect on our strengths and our ability to solve problems. It is not productive to blame ourselves for things that are not our fault. It also isn’t productive to harp on past mistakes when we’ve apologized, rectified the situation, and learned to do better. I created “A Burst of Butterflies” to inspire viewers to consider the beauty of possibility. Sometimes darkness is all we can see, but that doesn’t mean it is the only thing that lies ahead. We can achieve change if we are willing to use our imaginations and do the work.



Christine Stoddard is a former Annmarie Sculpture Garden artist-in-residence and an M.F.A. DIAP candidate at the City College of New York (CUNY). Her work has appeared in special programs at the New York Transit Museum, the Queens Museum, the Poe Museum, and beyond. She also is the author of Water for the Cactus Woman (Spuyten Duyvil Publishing), among other titles, and the founder of Quail Bell Magazine. Born in Virginia to a Salvadoran mother and American father, Stoddard spent most of her early life in the Washington, D.C. area. Today she lives in Brooklyn with her husband/collaborator, David Fuchs.







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