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On the outskirts of Ulaanbaatar, framed by never ending new construction of luxury housing, and upscale office and retail developments, sits a park that will have to wait until winter’s end to continue its own development. The National Garden Park is part of a new vision for Mongolia’s capital. It has echoes of public green space in South Korea, and the new construction surrounding it is modeled after foreign high rise developments. All in all, a vast departure from the Soviet architecture and urban planning the city was built on, and world’s away from the impoverished “ger district” on the North, East and Western fringes of the city. Mongolia is on a fast track to becoming an Asian Tiger, but its most symbolic native predator will always be the wolf.

Tiger Beer’s international art project, Tiger Translate returned to Mongolia and reunited with New York based artists, FAILE for the creation and installation of The Wolf Within. They worked with Mongolian artist, Batmunkh to create the permanent sculpture, and with the help of the Mongolia Arts Council, they also had a chance to collaborate on stencil pieces around the city.

FAILE and GR friend and sculptor, Charlie Becker, tell us more about the evolution of the project from stencil, to sculpture, to 5 meter high fiberglass re-imagining.

GR: Can you say a few words about the collaborative process and taking concepts from 2 dimensions to 3?
F: We’ve worked collaboratively all our career so it’s very natural for us to have the help from another artist in the process of realizing one of our ideas. Charlie has been our go-to-guy to help us in the process of bringing our images to life. It’s usually a time consuming process. One of the biggest challenges comes in getting the emotion right, to capture that usually involves several revisions before getting it right but it always leads to amazing results in the 2D to 3D transformation.

CB: Coming from a background as a designer, It’s second nature for me to work in collaboration. When I work as a for-hire sculptor, my role is to capture the artists’ intent, not to push my own vision. But Patrick and Patrick really understand and trust me to interpret what they are looking for.

The challenge in bringing FAILE’s pieces to life is that they can combine things from different 2D sources  that can’t exist together in the real world. Getting the scale and anatomy of a horse’s head to merge convincingly into the neck of a human, for example. Or a relief that’s so deep that you can see all around it, requiring distortion to make the perspective look right from all angles.

I seem to have an ability to understand where the artist is coming from, and to work in the mindset of the people I’m working with. In the few instances like this where FAILE has worked with other sculptors, I tend to act as an interpreter of their style and vision, since I’m bilingual – I speak both “artist” and “sculptor.”

A lot of figure sculptors work in a heroic style, either from working on monuments, or – here in LA – sculpting superheroes. Most fine artists I’ve worked with are at the opposite extreme, looking for the subtlest emotions, the spaces in between emotions, or the  combination of several emotions. I liken it to the difference between acting for the stage, and acting for the camera. In the theater, you are emoting so they can see you in the back rows, but on camera, there is much more opportunity for subtlety. In trying to capture “Eat with the Wolf” I’d say that character is going through an emotional upheaval, simultaneously experiencing fear, joy, anger, wonder, awakening, and maybe even a few more.

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It’s street art and perhaps it’s all ok to do, I guess. This piece is by a group, UpsideUp and ask Museum Director Jay Xu who just said “go and paint our walls.” Hear that? Bay Area graffiti artists are notorious and strong. Aerosol on the walls? Maybe he didn’t want to say this. Museum Director Jay Xu says: “It’s a great thing that our museum is in such a dynamic neighborhood that artists choose to use our wall as a canvas,” said museum director Jay Xu. “We will keep it there as long as it lasts.” (SFGate - Jay Xu)
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Here’s a link to the Hookedhands blog who created and put up the Totoro yarn bomb. Did you know yesterday was Yarn Bomb day? It’s International as well. International Yarn Bomb Day! Well talked about especially during our Blithe Spirits art exhibition, was the Totoro Yarn Bomb. It’s Crocheted! We took a look at the blog, that were hanging in little strips of paper and saw this: “You can find my Totoro on Sawtelle Blvd between Olympic Blvd and Santa Monica Blvd.  He’ll be smiling down at all the Japanese food lovers and Giant Robot frequenters, spreading some neighborly love.” We thank Hookedhands for the shout and the neighborly love.  
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[youtube]kySsodNxIKs[/youtube] I shot this without the intention of turning it into a film, but I figure there’s so many of you out there who won’t be able to make it to MOCA – Art in the Streets. This is another way to see it. In my opinion the “Street Market II” is the best part of the entire exhibition. The three, Barry McGee, Todd James, and Steve Powers – TWIST, REAS, ESPO respectively, made an effort and succeeded in creating an actual environment, so I isolated it into it’s own video. No where else in the exhibition did I feel that I was being pushed into a very different space. Street Market? There definitely is a place that deserves such a name and it’s at MOCA. On a side note, when the first Street Market took place in Philadelphia, I was invited to go by Mr McGee himself. Perhaps I should have gone, but Todd James did say, “this is even better!” I may post more video from the rest of the exhibition, but again, this part is my favorite.
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