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You are here: Home / Collage / Digital Collage / Introducing the Heavy Metal Hydrant Suite: Limited Edition Industrial Prints from Iskra

Introducing the Heavy Metal Hydrant Suite: Limited Edition Industrial Prints from Iskra

September 18, 2018 by Iskra Leave a Comment

My hydrant iskra collection
Meet Iowa No.4, My personal Fire hydrant

It is time to come clean about fire hydrants: I love them. In a world teetering between fire and flood, with catastrophe pending on every front, I do love a piece of heavy metal I cannot lift. I have my own brilliant yellow hydrant in front of my house, and it makes me happy every time I come home and see it there, surrounded by equally yellow dandelions. I feel safe. Put together with flawless arrangements of bolts and screwplates and circles and cones and handed down through hundreds of years from men with rough hands and wrenches, the hydrant is unarguably TRUE. Hydrants are valiant, like German Shepherds, and they have no existential doubts, although I do think they are vain. It’s a quiet form of dandyism, but think they enjoy the ornaments essential to their functioning – the lovely multicolored chains and hats and bits of metal that festoon from arm to arm.

Now, ulp, I have one inside my house. How do you say no in the middle of a birthday party when someone says We Have A Present for You, it’s on a truck, how about this corner? Well, you say yes! It’s the Autumnal blazing happiness yellow of sunflowers and pear apples and drowsy honeybees. It’s pettable, and clean, and it comes with its own little tag indicating that it is #4. Its presence in my house makes me realize the Heavy Metal Hydrant Suite can’t wait any longer to meet the world.

I have been working on this series of prints for quite awhile. I have approximately 600 photographs of fire hydrants in my files, dating back several decades. This is nothing in terms of commitment compared to the obsessive depth of The Hydrant Museum curated by Fire Hydrant.org. This site, the brainchild of Thomas Ingalsbe, is astonishing. Here you will find archived private collections of fire hydrants, restoration tips, and descriptions of every hydrant imaginable. Behind the scenes, at an undisclosed location behind a berm in a state starting with an A, Mr. Ingalsbe has his own collection of 900 fire hydrants. His website has been a true inspiration, and I am grateful for the kind assistance he has offered with documentation and certain mysteries of manufacture.

This series of prints is ongoing, and will be released on my shop over the next few months, starting with this initial set of three. These prints are ideal gifts for the person in your life who stays up ’til three worrying about catastrophe. Also, your local fireman, whether they have saved your cat from a tree or rescued your house from an inferno, or even if you just have a crush on him/her. Start with an offering of art and work up to apple pie, I guarantee you will get their attention. . . . This series is printed in archival inks on fine rag paper in editions of 75, and affordably priced at $175 including shipping. The image size is 12 to 13.5 x 18 inches on a 17 x 22 sheet. Each piece is composed from my own photography, digitally blended with paint and inspired by the music of the street. Click on the titles below or go to the Hydrant Section of my shop to review details or to purchase.

Rensselaer L-90 in Green Iskra Print
Rensselaer L-90 in Green
Mueller Five and a quarter Hydrant Print by Iskra
Mueller Five and a Quarter on a Blue Sky Day
Mueller In Chaos Fire Hydrant
Mueller in Chaos (Equanimity)

In other news please save the date for Digital Maneuvers, a group show including me, Troy Gua, Kate Sweeney and Stephen Rock at Seattle Art Museum Gallery, opening First Thursday October 4, 6-7:30.

My solo show, ColorBath, at SAM’s Taste Restaurant continues through November 5. Open Weds-Sun 11-5 and Thursdays 11-9.

Filed Under: Digital Collage, Prints Tagged With: Digital Maneuvers, fire hydrant art, heavy metal hydrant suite, hydrant museum, industrial prints, SAM Gallery

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Subtractive painting study and ground experiment: Subtractive painting study and ground experiment: I added baking soda to my gesso. Pretty wild texture here, not sure yet how stable it is. You can see the test of the edges in the second piece— the rugged edge only works if I get a pristine background and unfortunately the tape I used to mask it did not work consistently. Hello tape, my old friend and nemesis. You work differently on every surface. These little barn structures give me great comfort as the bigger structures of our government and nation seem to be crumbling.
Today’s landscape to quiet the mind. Out in the Today’s landscape to quiet the mind. Out in the fields somewhere, on the road to Edison. Acrylic on prepared ground, sketchbook.
MUST SEE! Ai, Rebel: The Art and Activism of Ai We MUST SEE! Ai, Rebel: The Art and Activism of Ai Weiwei at Seattle Art Museum.
I am thinking this morning about the phrase Americ I am thinking this morning about the phrase American Heartland. Learning to paint a barn means studying the neutrals. Our political discourse has pitted the barn people against the city people and there are no neutrals, just shouting. But if you walk out into the horizon lands, all you hear is the wind and a kestrel. Walk in boots, hard-pressed against your toes, walk on stubble barefoot and get acupuncture for a lifetime. Study the intervals: how the clouds can be in the upper one third neatly or one sixth, precarious, the future disappearing with the sun as it falls making the barn your whole world if you’re three years old and looking up; one big triangle with a square in the center, and so many mysteries inside the square. 

There is also the question of what kind of light seeps between the verticals and is the light coming in the evening or at midday when you can finally begin to make out all the other tiny squares within the big square, which would be called hay. Reach for the rope and swing out over the canyon, that great big canyon from bale to bale.

Collage studies: painting neutrals
A hybrid study, mixed process. Reading the New Yor A hybrid study, mixed process. Reading the New Yorker this morning, about the global population crash. This will upend urbanism, for sure, though it will very good for veterinarians and dog groomers:
“Only two communities appear to be maintaining very high fertility: ultra-Orthodox Jews and some Anabaptist sects. The economist Robin Hanson’s back-of-the-envelope calculations suggest that twenty-third-century America will be dominated by three hundred million Amish people. The likeliest version of the Great Replacement will see a countryside dotted everywhere with handsome barns.”
First Thursday. Such a beautiful night. First Thursday. Such a beautiful night.

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