Brady Steward Glass Sculpture: What Seems

B R A D Y

S C U L P T U R E

Ice Moon Studios

S T E W A R D

G L A S S

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Wind & Cloud Publishing Wind & Cloud Publishing 1914 Summer St., Houston, TX 77007 281-630-3842

Brady Steward, Glass Sculpture: What Seems Copyright ©2016 Brady Steward All rights reserved.

Typeset with Priori San and Priori Acute Titling Designed by Cyndy Allard

First Edition 2016

Brady Steward

Photographic Credits: All images by Cyndy Allard except those by Owen Murphy on pages: 117, 125, 132,

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133, 134, 137, 144, 145, 147, 148, 150, 151, 152, 153, 155; and Brady Steward on pages 49, 116, and 149.

Table of Contents Acknowledgements

6

Discussion with Brady Steward with Cyndy Allard

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Ice Moon Series

15

Consciousness Series

40

Invertebrate

51

Cascade Series

67

Smoke Within Series

138

Architecture Series

145

Early Works

150

Ice Moon Studios 5

Acknowledgements

B

ecause of his science background and being good at reasoning and seeing through things concerning science, the environment, geology, and evolution, my Dad had a huge influence on me. He is not mythodical but methodical. He is a problem solver. Because of him I got exposed to a lot of smart, hard working people. In fact, most of these people were self made “kings” of work ethic and talent. So I grew up expecting to have to work hard and never thought twice about it. My mother was always there as my biggest cheerleader! I learned by some of our traveling how lucky we are in the USA where we have great freedoms. Relative to art, my 165 scuba dives opened up another world that had a lasting impression on some of my art. The coral reef seems so much larger than life, other worldly fluid and mysterious; potent and teaming with life that inspires me to some of my work in glass sculpture. We lived in 10 houses, give or take, by the time I got out of high school. Mom responded by helping out Dad with jobs and organizing big events. She was the first to lead the grand opening of the Aquarium of the Americas where my Dad had helped with the fundraising.

Randy Waesche, Susan and Pat Rutherford have been great tillers of the boat for me in their generous friendship and advice. (Pat and Susie Rutherford who took me to Mexico bird hunting.) If it was not for them and my parents I would not be as productive in life.

My brother Blake has also been someone who has been loyal and someone to reflect with on all kinds of things. He is very talented as well: he is a great communicator, wonderful businessman and great family man.

Someone who would survive a smelter, he is the pure metal. He is not a small boat, but a large craft that draws deep water.

I thank Gene Koss for discovering my talent and abilities. I was tested for 8 hours on an aptitude test and told I was not creative at all. I thought I was not good at anything until Gene Koss recognized something in me and told me to get my butt into glass art. I had many art teachers but none could truly convey what art is, like Gene.

John F. Clark was and is a big influence in my work. I started with him for one year in graduate school at Tyler School of Art. He is anything but a light weight. He is also the best art critic I have met by far. He and Koss have formidable thought behind their work.

Pete Hollman, professor of English writing at Schreiner University inspired my poetry. My Grandfather Hugh B. Steward and my Dad would recite “The Spell of the Yukon” Robert Service and other strong literary works.

Brady Steward

And to my great friend Cyndy Allard for all around profound conversation, reflections and a great friendship.

Thank you for working so hard on this book and knowing you is a continuing education. She is a very loyal and spiritual soulmate. She really pushes it: the universe and beyond.

My friends that are major influences are: Joaquin R. Trigueros, Matt Hopkins, Dr. Michael Rowland and Alex Falk. This is a sharp crew all around and spiritual, and I consider them my adopted brothers. We teach and help each other, and they help me figure out the titles of my pieces. We have been apart far too long!

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The influence of New Orleans.

I also want to thank the crew at Resource Management Inc. of New Orleans. Thank you for all the help! You are the best!

I am thankful that I am free and that I live in a country where one can be a self made King or Queen.

Thanks to God.

Ice Moon Studios

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Discussion with Brady Steward & Cyndy Allard

CA: What compelled you to obsess on making the figures in the Cascade series: their nature seems very personal.

LBS: Inner necessity. They taught me about myself. They are a meditation, a way of working through things. They taught me also about others and things in the world I previously didn’t understand. I had a nickname “Lost” after a piece that I made and named “Lost”. People would call me that in school. They also called me “Buzzard” because of my interest in entrails and microscopic things in the body. We have colonies of things in us.

The meaning of Cascade is that when someone is exposed to something bad (even a prescribed medication) and it causes a cascade effect that accumulates over time and causes a chain reaction of other problems. This series has another name, the ‘Despair Series’.

Like the slime inside the pieces, not everyone is going to see it as slime. They appear very pleasant to the eye, to me they represent organs in the body, there are things in us that are even like plant matter, virus, microscopic organisms, benevolent organisms, parasites, overgrowth of bad bacteria due to the killing of all bacteria good and bad.

Brady Steward

CA: Why the obsessions with internal organs and organisms in the body? What happens beneath the surface?

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LBS: Medication and pollution can cause an imbalance of these organisms in the body. My name is Brady, my nickname is Buzzard, and I sure can talk about entrails.

Doctors know little about eating right and good nutrition.

Food is medicine, however doctors are not about prevention in general. They pay lip service to prevention, but would rather have people as long term experiments.

Biomorphic slime, organs under stress, preservatives, toxins.

Abstract forms inside Cascade: symbols, veins are like rivers and arroyos in our body. Biologic: organs in the body, layers of

body structure, in the movement and translucency of the glass and color.

On some pieces I leave a sigil—small etchings on the surface.

These marks I view as having magical power. Once at an exhibit a doctor in his scrubs looked closely at one of the pieces and being disturbed by the image jumped back when he recognized what it was. They are etchings of diagrams, astronauts of the inner space of exploring, body and a kind of spiritual warfare—pollution triggers things to not function, losing common sense, all drugs: legal and illegal drugs. [pp.

100-103] Floating learning problems, when I was at Tulane they went away. I was there before my Dad wrote Sugar Busters, but they went away, I don’t know why. My learning problems can be a disconnect at times.

Amoeba things—half plant microvilli biological confusion and chaos. Micro organism and amoebas, life when it began: single cell on to complex organisms. Futz insidious. [p. 73 and p. 45] The volcanic vents in the ocean, tidal pools, radiation from the sun.

Voids—emptiness. Finding balance for the void. The cavity in the body, which represents emptiness, like hunger (and appetites) can make people do desperate things. They can do good things to evolve as well. They can prove themselves to be somebody, they can have a drive to fill that hole. Hunger that we have to feed, body is brain, digestive track is another brain, whole body can be a brain—not the brain in our head.

Sometimes we sense things in the body: there are triggers, like memories from the past, we can feel in our stomach initially and then it goes to the brain.

There is a figure with a donut-like ring around his neck, it is like a slave ring, that we have to SERVE someone or something. [see p. 90 and p. 105.] (Note several pieces in the Cascade series have the ring around the neck.)

The Dough Boy Cascade figure has arms that look like the Michelin man. Preachers can use Christ as their dough boy, they make commentary out of ignorance. (There are also several of these in the Cascade series.) [p. 76, p. 82]

CA: There are many complicated layers in these figures, layers of body structure and even organs in the movement and translucency of the glass and color. They are like a journey into the inner space of the body exploring the rules or terms of spirit, mind and health. And somehow a construct of what makes an individual when viewed through these lenses.

LBS: It took me 15 years to name the series. They were always meant to be figures, but they just came out. I don’t’ know where they came from. Some of them became training pieces and mostly those end up in the cluster of figures of a stagnant dance.

Antennae, attention and recovering—we are born with this a gut-set. It has an antennae (instinct, intuition) that the body being 80% water we are influence by the tide, things we smell, sometimes what seems is not always the case—if their biorhythms are off. Allergies, excess suffering can throw people off. Doctors over medicating older patients, because their metabolism has changed. The list of possibilities is long.

We can evolve as humans in states of the body plus states of mind and body consciousness.

CA: The smoke within pieces are truly works of beauty and mystery—another group with complicated layers of detail, and smoke, fog and particles.

One piece has a green streak of lightening going through it focusing on the belly button. [p. 93] The blackness is trapped (black glass) and twisting, with fine detail. It is textured with detail opposite of what most think glass to be. Some have residual smoke. Usually they have lines that go up and down that express a vibration

Halo is a tipping piece, that is it potentially could fall over expressing the fact that the body can easily be thrown off center. This piece is a standing relief. Smoke is a residual of the fire, not making it through the war (spiritual war) and is about to die, it has fought its last fight. It is entropy from high state to a low state. Halo is the expression of hope, to rise again. A good soul gone through the fire, it has fought the good fight. [p. 122-123] The Smoking Christ, as in when the bells toll on Good Friday to the Resurrection. The Church falling, it has no logic. Most people do not know Greek, Aramaic, or real bible history and a true translation. Much is lost in translation and most preachers are breeding ignorance. [p. 143] The Smoke Within are mostly figurative pieces and a more abstract, inner self-portrait. They are mummified encased pieces: figures encased in a smog, fog and smoke. They are mummies, figures in a darkness. There is one with a black base with smoke trapped in it, black nubby arms, metal in the head, chest, smoke and ash. Glass is fluid, red and blue with smoke, smoke within is cast and slumped, adding waffles or cactus forms, volcano vents, tube worms digestive track. [p. 125] Mud-crack series are inspired by rocks and geology: cast wood mold, then slumped over nature mimics the earth and is at the core of our belief system. [p. 46 and p. 47] The Cascade and the Smoke Within series are both about medical pollution: the bulldozer represents the doctor being a legalized drug pusher for instance. Tamper tamper tamper, in the name of science you can get away with more than you should. Get rich to treat, rather than to healing.

CA: Tell us about the Ice Moon series, there seems to be a sense of the alienation and unreality that breaks into day-today life, though in a kind of delightful way in these pieces.

LBS: The original Ice Moon is a concrete piece that is architectural with glass bricks. It is a base camp that exists

Ice Moon Studios

LBS: The smoke within series is water and smoke, like smoke and ash of volcanic vents where life was created, and tube worms and microscopic organisms, also tidal pools and radiation from the sun making an environment where life can begin. They make their way, smoke swirling in the glass reaching out into space, a kind of spirituality. Some of these have stars inside of them, swirling inside-confusion, searching, and seeking. Smoking burning will seek out life with carbon starting life. Also has the understanding that life is difficult and mean.

Grid of Gravity is dark glass with a dark psychology, spirituality.

The face is waffled. It is an abstract figurative bust, a piece about deep confusion. It also has a halo which has significance to me. (p. 118]

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under the ice pack on an ice moon. Human beings would be on one of the base camps under water. It is inspired by a tree, the crown of a tree (this piece has been in high winds and never tipped over.) [p. 147] Gonch is the original ice moon.[p. 140] Also ‘incubator babies on the moon’—seemed strange so I didn’t say that—I called it ‘What Is It?’ (Three grids on top with glass bricks in it.)

CA: The concrete is an incredible, lovely contrast to the glass.

LBS: Things under the ocean end up looking like concrete, making them look space age, futuristic literally gray.

Brady Steward

The ice moon series that are not cement but glass—there are a number of sub-series. At Tulane I made them in Gene Koss’ class. I made an invertebrate and put cast glass from the carved wood mold, I added substances that made a watery looking mixture of life, an abstract jelly fish kind of thing.

He said it looked like jewelry which depressed me. I like the mystery of sea life, and came back to it later. This is the point when I really started understanding what (smart) conceptual art is. The ice moon Europa of Jupiter, Ganymede a moon of Saturn, and in both if the ice is thick enough the pressure will form water underneath it. Throughout the universe—we do not know all of the dimensions/places in outer space so there COULD be life elsewhere. Though life would be different, different chemistry, elements, and minerals compared to here. Vulcan would have sulphur, etc. These are playful dreaming thoughts of what could happen, imaginings of what those life forms might look like. Natural selection would be a different process than here. Ice moon is a series celebrating life on other planets. Most are aquatic beings. Fluid, water like—life comes from water.

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CA: …And The Time Traveler from an ice moon, a being transmuting in and out of space/time continuum, hyper dimensional. [p. 18] LBS: Many pieces are dark reds and blues, meant to be seen in normal incandescent low light. So they are dark in color, dark wine red, dark ocean blue, a fluid quality. Barnet Newman, Mark Rothko remind me of swimming in the Cayman Trench or the British West Indies. Water pressure, deep blues in the deeper the water and how the increasing pressure affects things. 150’ of water is as deep as I can go, I lose sense of

time and it becomes critical as one has to be conscious of decompressing.

The green piece, the Heinekin bottle, is influenced by geology futz insidious in the strata or thermocline, sediment settling, could be ocean or geological strata. [p. 45] There is literally ash in the piece. Elements, environment, situations that produce life. Movement in water, around heat under the ocean. Recording a story.

Toxic green/emerald green to show spiritual growth, being awake through suffering. Through the process, the dynamics of the glass, the creative energy put into it creating a symbol of the creation of life.

The influences of the region of New Orleans with all of its pressures, good and bad. Unseen pressures—spiritual warfare, Vooduan, Satanists (I had the experience of working with some, had grim reaper tattoos on their back to ward off evil).

The surrounding estuaries of New Orleans have life flowing in and out with the tide in the marsh, somewhat in the swamps, and a large variety of plant and animal life, a profusely dynamic ecosystem. Growing up in new Orleans you see a lot of plant and animal life—the plants flowing in the marsh, flowing in and out with the tide. The hermit crabs waving their claws. Extremely strange and unusual fish from the ocean, in the marsh fishing for flounder, red fish, speckled trout.

We saw jelly fish in the surf. I had an aquarium in Junior High School that had fish from Lake Pontchartrain. We fished off a pier a couple blocks from the house on Lake Pontchartrain, trawling for shrimp, in my mid-to-late twenties we would go out behind the barrier islands and fish with the quarter boats.

People in New Orleans consider me as a New Orleans artist, but for me it is too much of a ‘small world’ scenario.

Ice moon series, even though this series looks rather decorative and light it is really borne of spiritual warfare. I wrote a story about a blue ice devil, and he was attacking ice moon base camp on ice moon Europa. [p. 20] The struggle that went on there, the spirit was attacking, and they had to find out ways of getting rid of it. The spirit would leave for a month or more and then return, making the mission for NASA very difficult to drill cores in the ice, where they discovered ice moon jellies glowing toxic, and building the glass elevators. The juvenile Ice Devils are bright colors and

the older ones are faded from the center and are hard to kill.

There is a lot of detail involved in the extensive story, too much to include here.

CA: Is the process itself a part of the meaning, the reason of your work? What else inspires you?

LBS: When I work I let the material dictate the process with an accident factor allowance. And while working I work with my past, my knowledge, my experiences and what other people have told me: be it by research of reading or word say.

A good amount of the time I work with intuition, erroneous intuition, quirky intuition, and instinct using the ancient part of my brain. Also, one must not leave out gut instinct and not always guessing why I am doing something. Science, evolution and geology are a big part of my work. I like working in glass on the account of the inner form and seeing into the work to best express my notions. Glass seems to be the best thing to express my ideas better than other materials. In addition, spiritual warfare, and the idea of body as a antenna that receives information and transmits it are in my mind when working. Thinking of pollution, greed, biological pollution, chemical demons, medical pollution is in my idea also.

Organs have a consciousness and toxins/pollution can have an affect on them and can create demons. God and other things out there influencing my work, besides the cycles of the moon and the universe in unknown dimensions.

LBS: I had to have some help-- God and Angels to have accomplished what I did in such a short time.

I was intimidated by Tulane because I never really knew how to study. So I left and started working at a bronze foundry, and then took over the bronze foundry. Ed Walker (with whom I took the original bronze class at Tulane) sculpture professor went to N. Carolina and I took over his foundry, bought his tools. I learned I wasn’t ready to run a foundry after 2 or 3 years. Gene Koss wanted me to do his glass in bronze, bronze bases for his glass pieces. He indirectly inspired me to go back to Tulane, so I thought I would give it a try.

I went one year to Tyler school of art for graduate school as Koss recommended Tyler because he had gone there. Jon F. Clark was exceptional professor of art and glass sculpture.

Most of his work is blown into plaster molds and composite and mine is made differently. My work is more about what is going on inside the piece, as it is made on the bench. It has free form accident factor at back of the mind, connect disconnect all at once, spiritual and instinctual.

I work with a team/crew. One cannot work with hot glass alone. You depend on them to keep things warm while you are working, and you are coaching the team. Like car racing and being in the pit, only like being in the pit the entire race as Gene Koss would say.

Glass, being 4D, the glass core starts cooling off so it is impossible to keep working it in the style that I work, it all has to happen by the numbers, with some room to be spontaneous. There is always the spiritual element that comes out for me, it changes me and calms my mind. So for the most part my work is conceptual, in that I know before hand what the work will be, with some process of the media also controlling the outcome.

There is short glass and long glass. I only had access to short glass and one has to work really fast to complete the piece. I had to work with glass blowing glass for sculpture which is not the best. I like to work with dirty glass. Recycled glass, not pure, I scar glass, put wood, smoke in the glass, metal, used

Ice Moon Studios

In high school in Houston, before Montana high school, I created a wire cowboy. My teacher talked to Mom and said the cowboy was exceptionally good. Mom said I should take some art classes. Six years later I took sculpture class at Tulane—while I was doing Architectural millwork and woodworking. The glass professor saw the piece I was doing in bronze, it was a man looking at a wall with brick spinning in the wall, a psychological piece. He saw this and said, “Get your ass into glass.” No one talked art like Gene Koss. Like a true and real artist. Other professors gave assignments and said go do it with no aptitude to talk about art, that there could be meaning in the work.

So I took a beginning glass class. In the intermediate class I was part of Koss’s traveling crew to do demonstrations at other colleges. I owed a lot to Gene (some people called him Kosstik) and John Clark.

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coke bottles etc, domestic glass which is still short glass and very hard to work with.

The crew had to know what the process is and work very fast.

Sometimes two people and then up to four at a time. When I am working glass I can work slow and then speed up and then slow down again. Then there is the cast glass which could take up to eight people to assist.

To create these pieces it is not a simple process. And the work can only be as good as the weakest link in the process.

Glass is complicated and you have to be extremely focused. I meditate, visualize the process before making the piece. Then I draw on the floor the steps of the process with a piece of chalk. Professor Koss always said working glass is 90% set-up and 10% actual work.

Everyone at Tulane was very supportive, well educated and well-rounded. The process of working with other glass artists can be difficult. One year of grad school at Tyler—shook too much rust off me at one time, and I was intimidated.

Old guard artists that influenced me are: Francisco Goya, DeKooning, Auguste Rodan, Barnet Newman, Mark Rothko, Clyfford Still, Marcel Duchamp, Vincent van Gogh, Kazimir Malevich and Jackson Pollack.

Brady Steward

I try to make work as strong as possible. I like my work to be intense. It is about strength and weakness and entropy is an element of my work.

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Ice Moon Studios

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The Messenger The ancient amoeba sparked in the ancient pool.

There he lurked and

consumed

Ancient gasses and smoke.

He is the ancient leader, Brady Steward

The pawn of pawns,

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The messenger of the gods.

Ice Moon Studios

The Time Traveler 2015 16.75 x 12 x 7.25�

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Brady Steward

An Origin

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Deep strata Child Hanging with The larva and fire.

Tell me of pressures and tides.

Tell me of ancient Devils And angels that cried.

For you are my Origin...sweet long time.

Ice Moon Studios

Invertebrate Series (D) No. 1 2014 Glass 15 x 12 x 11�

Private Collection

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Brady Steward 18

You glow on the ocean Sparkle child The moon light goes through you And around you And the sea‌ Comes to life With loving warmth of Busting and teaming life My rising sunshine

Ice Moon Studios

Ice Antelope No. 1 2014 Glass 23 x 12.25 x 5

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Brady Steward 20

Blue Ice Devil No. 1 2013 26 x 9.5 x 5�

Private Collection

Messenger Series The ancient futz Watch him rut With his red eyed crew They will slowly kill you.

Ice Moon Studios

His demons screaming, Flying around the room.

Watch out baby, You’re doomed (he’s coming for you)

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The Demon One

Brady Steward

Only one, can save you nigh.

You say sweet things Shallow indeed A Void you are Sucking life, From others

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Ice Moon Studios

Ice Moon Series (B) No. 15 Tube Worm/Looper 2014 20.5 x 11.5 x 6.5�

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Brady Steward 24

Ice Moon Series (B) Life Under the Ice Pack 2012 23.5 x 12 x 10�

Buzzard Series

Ice Moon Studios

Desert dweller Oblivion dance.

He came out of the estuaries and swamps, Shaking demons and devils.

They pursued him like mad phantoms until he passed through the unseen threshold.

Then blue waters were at hand and the women came to him and asked him to speak elegantly.

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Flat Black Eye

Brady Steward

Flat black eye Cold and chilling Draining, Killing Soul Piercing cry

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Ice Moon Studios

Ice Moon Series No. 22 Sea Whip/MicroVilli 1999 19.5 x 10.5 x 5�

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Brady Steward 28

Ice Moon Series (B) No. 14 2013 20.5 x 12 x 10�

Ice Moon Series

Ice Moon Studios

What is the name of the ice moon baby?

Tell me for it is sweet and blue ...

Ya I see sweet sunshine smile rise for you.

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Brady Steward 30

Ice Moon Invertebrate Series (B) No.1 2014 10.75 x 9.25 x 7.25�

Ice Moon Studios

Side View: Ice Moon Invertebrate Series (B) No. 1 2014 10.75 x 9.25 x 7.25�

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Brady Steward 32

Ice Moon Invertebrate Series (C) No. 2 2014 9.5 x 11.5 x 8.25�

Ice Moon Studios

Ice Moon Invertebrate Series (C) No. 1 2014 8.5 x 10 x 6�

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Brady Steward 34

Ice Moon Series (B) No. 16 2013 28 x 12 x 8.5�

Ice Moon Studios

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Brady Steward

The Artists

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Prisms in prison, what hell this can be.

The artists, sometimes diamonds not seen.

Ice Moon Studios

Ice Moon Series (B) No. 11 2013 21 x 6 x 5.5�

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Brady Steward 38

Ice Moon Series (B) No. 7 2013 21.5 x 7.5 x 7�

Red Collapse

Ice Moon Studios

When the sun dies and the ancient souls cry we will scatter my friends!

Then it will be a long time until I see you again.

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40

Brady Steward

Ice Moon Studios

Consciousness Series No. 1 2006 6.5 x 21.5 x 7.5�

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Brady Steward

Blue Water

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Ancient salt ancient tides kiss me blue water, my ancient bride.

You are the Moon’s sweet Tide.

Where were you when ancient fire arrived?

Ice Moon Studios

Industrial Flower Cast Glass, 1991 4.25 x 21.75 x 4.75�

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Brady Steward 44

Little Maker in the Beginning Cast Glass, 1989-2005 3.25 x 5.25 x 4�

Ice Moon Studios

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Mud Crack series No. 6 Cast Glass 2006 10 x 11 x 10�

Ice Moon Studios

Rear View (top), Front View (bottom) Mud Crack series No. 6 Cast Glass 2006 10 x 11 x 10�

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Riding over the ocean Eon’s of time I see you In the testing grounds We will see Who gives up Keep seeking my friends My love If you lived longer Your childhood pain Would not exist My infinite One’s Monsters out there Rise above Awake

Brady Steward

Be greater than Do not be more than human Sunshine child Breathe

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Watch out for the formula man They do not think for themselves We are fluid Alive

Be Logic Be awake Be aware One day you will reinvent and transcend Walk along side Train To rise high Be bigger than our problem...

For you are.

Human respirators Will take you away From wisdom Find your rhythm This… Day… Begin…

Be a beautiful shell.

Ice Moon Studios

Mud Crack Series Cast Glass 1990 10 x 20 x 10� deep

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Brady Steward

Eon Child

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Fifteen billion years old A smile that lasted (all the while).

She transcends water and ancient stars.

Zero is one of her names‌ now she wants you tonight.

Wanting to kiss you all the while, Kiss her a smile.

Ice Moon Studios

Invertebrate Ice Moon Series (C) Life Fern 2014 10.75 x 2 x 2�

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Brady Steward 52

Cascade Series 2006 8.5 x 3 x 2.25�

Time May Pass

Ice Moon Studios

A lovely kiss the kiss I miss for when it comes again I cannot tell but woe to miss that kiss to think time may pass long would be dreadful pain.

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Glow in the Twilight

Brady Steward

It is a blue well in

deep starlight, there her emerald green eyes glow and sparkle twilight.

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Ice Moon Studios

Invertebrate Series (A) 2006 6 x 5.75 x 3.5�

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Brady Steward 56

Invertebrate Series (A) No. 10 1999 7.5 x 5.2 x 3�

Ice Moon Studios

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Brady Steward

Arlette

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She is the soul in the blue purple sky.

She has an emerald green stone shining in her right hand.

She is over the clear blue ocean.

The sun is setting nearby.

There she wishes, Where is my guy Go to him, kiss him!

The angels will sigh.

Ice Moon Studios

Invertebrate Series (A) 3.75 x 3.5 x 3�

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Brady Steward

Behind the wall

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she is the emerald green angel child. for she liked to hang behind the ancient waterfalls with her emerald green eyes.

Invertebrate Series (A) No. 11 2004 6 x 6 x 4.25�

Invertebrate Series (A) No. 12 2004 6.5 x 4.5 x 4.5”

Ice Moon Studios

Untitled 2004 7.25 x 3.75 x 3.75”

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Invertebrate Series (A) No. 25 2004 8 x 6.75 x 4.5”

Brady Steward

Invertebrate Series (A) No. 27 2004 4.25 x 6.75 x 3.5”

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Invertebrate Series (A) No. 13 2004 4.25 x 7 x 3.5”

Ice Moon Studios

Invertebrate Series (A) No. 26 2004 8 x 6.75 x 4.5�

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Brady Steward 64

Invertebrate Series (A) Marine Biomorphic 2006 5.5 x 2.5 x 2.5�

Ice Moon Studios

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Brady Steward

Waters that Dance

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Deep blue eyes I looked into your vast waters.

And I saw a spiraling universe, Spiraling down.

I said ...

Hark lass Rise to the sun.

For you are the waters, The waters that dance Under the sun.

Ice Moon Studios

Cascade Series (C) No. 1 Spine Series 2006 16 x 11.5 x 5.5�

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Brady Steward 68

Cascade Series (C) No. 2 Spine Series, 2006 17 x 8 x 5.5� approx.

Private Collection

For Sculpture Design “1987”

No Go Back Back No Go Go Back No Says the Buoy of Hell.

Ice Moon Studios 69

Blue Water Series

Brady Steward

“Mariso!�

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Blue water and twilight skies, the sun will rise for you tomorrow and make you cry.

1 5 x 4 x 6�

Ice Moon Studios

Cascade Series No. 1 With the Tide 2000

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Brady Steward 72

Cascade Series No. 1 Plapsy and the Little Maker 1999 19 x 7 x 7.75�

Ice Moon Studios

Detail: The Little Maker Cascade Series No. 1 Plapsy and the Little Maker 1999

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Cavity 2004 6.25 x 8.25 x 8.25�

Ice Moon Studios

Cascade Series (A) Sprout 2000 9.5 x 7 x 4.5�

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Cascade Series (A) #15 2010 15 x 6 x 4.75�

Private Collection

Ice Moon Studios

Cascade Series (A) 2010 18.5 x 6 x 6�

Private Collection

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Brady Steward 78

Cascade Series In the Estuary 1999 19.5 x 6.5 x 6�

Ice Moon Studios

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Brady Steward

Blue Water

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Ancient salt ancient tides kiss me blue water, my ancient bride.

You are the Moon’s sweet tide.

Where were you when ancient fire arrived?

Ice Moon Studios

Cascade Series (A) 2005 11.5 x 4.5 x 4.5�

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Brady Steward 82

Cascade Series (A) 2009 19.25 x 7.75 x 6.75�

Tonight

Ice Moon Studios

Blue water and ancient flame dance for me, my ancient friends.

Oh how I miss you.

For I am in the ancient black tonight.

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Religion Maker 2006 8.75 x 4 x 3�

Ice Moon Studios

Sigil Detail: Religion Maker 2006 8.75 x 4 x 3�

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Cascade Series (A) 2006 Ron & Sally Forman Collection Head of the Audubon Nature Institute, Past President American Zoo and Aquarium Association (Aquarium of the Americas, t& Species Survival Center, The Audubon Butterfly Garden and Insectarium in New Orleans)

Ice Moon Studios

Cascade Series (A) 2006 7 x 3.5 x 3.5

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Biologic 1999 18.75 x 9.5 x 5�

Dweller She told me to meet her on top of the mountain In the ancient lake.

There she would be there waiting to teach me as if I have never transcended.

She will show me something vibrant and old That I would behold her We would not see with our eyes Yet we would cry The universe tonight.

Ice Moon Studios

And hold

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Cascade Series (A) Hole, 2006 15.5 x 4.25 x 4.25

Queen of All Kingdoms?

Ice Moon Studios

Queen of the Irish Queen of the Scots Queen of the Kingdoms Surely you’re not?

You rule all but one Do you not?

Date me! — Oh date me For tamed I am not You will not rule If you tame me not.

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Brady Steward

Lovely

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Lovely blue baby, sway in the breeze for your sunshine is coming.

Soon you will see for your soul draws the sun and the birds see to thee for you are the rare one sweet lovely.

Ice Moon Studios

Cascade Series (A) Lightening Gut, 2004 8.5 x 5.5 x 3.5�

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Cascade Series (A) Two views Tied, 2010 21 x 6 x 6�

Ice Moon Studios

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The Twilight Children Tribe Rivers and canyons star blaze and fire sun he is on the Tundra ice pack looking alone.

Where is my warm fire cave girl?

For red eyed pixies and flat black eyed demons are in this night.

Where is my cave tribe, my oblivion dance flight?

Brady Steward

I must run to the hot waters for the clan may be there, right?

I will run hard, bare foot—red tear.

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Burn my wild fire stick.

Ride them off there.

For one after another come moving in... cries.

They will hear the ancient screams come down the canyon tonight.

For I must find the cave fire the ones on the mountains on high.

Ice Moon Studios

Cascade Series (A) 1999 21.75 x 7 x 6.125�

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Cascade Series (A) 2005 21.75 x 7.375 x 7.75�

Buzzard

Ice Moon Studios

Dancing and prancing, buzzard bad breath.

To love him, will kill you.

Mortal death breath.

You eat him, you die.

You touch him, you’re green.

No amount of potion, can kill his disease.

So, flock from his feather, forget about your wethers.

Just leave The poor Buzzard behind.

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Dozzer No. 1 (front view) 2005 21 x 6.25 x 6.75�

Ice Moon Studios

Dozer No. 1 (rear view) 2005 21 x 6.25 x 6.75�

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Bull-Dozzer

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Dr. Singularity, pawn of the industry, please help me tonight for I have no life locked away in some system with no way to vision and only God let me see to the core for they can only afford to treat me.

No, they should not

heal me.

Ice Moon Studios

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Cascade Series (A) 2010 25 x 6.5 x 6�

Ice Moon Studios

Cascade Series (A) The Hole 2010 16.5 x 7 x 7.5�

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Sailing Sailing behind a cloud On the Caribbean seas.

To catch that cloud On this bright day Would be sure rest From the bright Sun shining sun. I thirst For the cloud, although Water everywhere.

To catch that cloud On this sea of Caribbean Blue and green, would Be refreshing.

Refreshing as a cool stream.

Ice Moon Studios

Cascade Series (A) 2007 11.5 x 5 x 4�

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Toothpicks I chew toothpicks What a bitch That’s what I need, A bitch!

I just poke fun.

I take my words Back Back, I say!

With a twitch.

Ice Moon Studios

Cascade Series (A) 2004 11.75 x 4.75 x 4.5�

Klinka & John Lawler Collection

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Cascade Series (A) Affected 2005 Glass and mixed media, 16 x 5 x 6�

Collection of Joaquin R. Trigueros

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Cascade Series (A) 1999 18.75 x 4.75 x 7�

The Buoy of Hell

Ice Moon Studios

I have been at sea.

In a dead calm-perilous–ah–mist.

Farther than from the edge it seems, Time is reaching forever The dinging strang of a bell,

of a buoy.

Ringing in time lost.

The tolling of eternal

warning Warning, from power

beyond – beyond power.

Immortal Toll-er will give due.

Cold, unfathomable… deep.

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Study

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Ice Moon Studios

Cascade Series (A) Tourqued, 1999 21 x 4.5 x 7�

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Brady Steward

Dance

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Sway boat in the tropical breeze. for the tide is high and sweet is the sea.

Come ancient night and we will watch the stars rise as we dance in the breeze, sweet sun rise.

Cascade Series (A) and Detail Torqued 2004 14.5 x 5 x 3.75�

Ice Moon Studios

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Grid of Gravity Cast Glass, 1996 20.5 x 11 x 5�

Dark Tide

Ice Moon Studios

Dive Dive with me deep the ancient stagnant water and I will introduce you to the geek, the ancient geek, he is the red eyed lonely one.

He shakes for long periods of time.

He will make you inhibited and unstable and you will ponder and turn ever inward!

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The Hold It would be hell if you Were in my mind.

It would be hell if I were in your mind.

Hell may be eternal Entrapment in our own minds.

Brady Steward

By God, may we Not be trapped in our minds.

120

In My Mind

Ice Moon Studios

Lost Faith 1990 Mixed Media 20 x 17.375 x 6.5�

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Smoke Within Series (D) No. 1 Detail 1990 24.75 x 10.25 x 5.5�

Ice Moon Studios

Smoke Within Series (D) No. 1 Halo Glass 1990 24.75 x 10.25 x 5.5�

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Smoke Within Series (A) 1990 17.75 x 6.25 x 5.375�

Ice Moon Studios

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Ice Moon Studios

Smoke Within Series (D) 2006 14.75 x 7.75 x 5.75�

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Detail Smoke Within Series (A) 1996 24.5 x 11 x 9�

Ice Moon Studios

Smoke Within Series (A) 1996 24.5 x 11 x 9�

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Smoke Within Series (A) 1996 24.5 x 11 x 9�

Ice Moon Studios

Smoke Within Series (A) 1996 24.5 x 11 x 9�

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Smoke Within Series (A) Cactus Amber, 1993 25.5 x 8.5 x 6.5�

Ice Moon Studios

Smoke Within Series (A) Cactus Amber, 1993 25.5 x 8.5 x 6.5�

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Smoke Within Series (A) 1996 28 x 9 x 7.25�

Ice Moon Studios

Smoke Within Series (A) Christ 1996 21 x 9 x 9�

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Smoke Within Series (C) 1996

Ice Moon Studios

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Smoke Within Series (A) 1996 Cast Glass

Jessica Cool water Sunshine water Water the God’s love From now on Forever Ice Moon Studios 139

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Encased Series 2004 11.5 x 5.625 x 3�

Ice Moon Studios

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LOST

Lost, Lost.

Smoke Within Series (B) No. 1 1990 Cast Glass 27 x 14 x 3�

Ice Moon Studios

All are lost.

Even the found are lost, For the lost bring them down.

143

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Wood Mold of Smoke Within Series (A) 1994 21.5” x 14.75” x 5.25”

144

Wood Mold of Smoke Within Series (A) Up and Down 1994 22 x 15 x 5.5”

Wood Mold of Smoke Within Series (A) 1993 21.5” x 14.75” x 5.25”

Wood Mold of Smoke Within Series (A) Detail of side marking/carving 1994 21.5” x 14.75” x 5.25”

Ice Moon Studios

Smoke Within Series (A) 1993 17 x 4.25 x 4�

Private Collection

145

Ocean Eye It was calm before the storm and the moon knew That she would be born and it pulled on the earth eons ago giving her a high place for birth

Brady Steward

The angels came to see Sweet Nikki For it on her day The seas were blue and sparkling For all knew she was A radiant lass

146

Because the reflection of her eyes witnessed the ocean we came from past and to look further the darkness in her eye is where the universe lies Sweet Nikki, Calm water child Requested by: Karen Wynn

Ice Moon Studios

Incubator Babe Base Camp #1 2007 Mixed Media 18.5 x 40 x 20�

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Incubator Babies on the Moon Mixed Media 1992 18.5 x 40 x 20�

Ice Moon Studios

Gonch & detail Mixed Media 1989 44.5 x 10 x 10�

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Life and Death 1993 Mixed Media 93 x 38 x 8�

Ice Moon Studios

The Radioactive Sunset 1992 Mixed Media 80 x 56 x 56�

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LOST 1988 Mixed Media 10� Diameter

152

Ice Moon Studios

Net Series #1 1993-1997 Mixed Media 10’ X 9”w x 8” deep

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Next Step

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For standing by you, is on the ledge Yes baby!

Yes baby!

I am on the edge.

The next step may be a terrible fall.

By God. God catch me If I fall.

Ice Moon Studios

Narrow Road & Bronze Christ Mixed Media 1991 73.5 x 26.5 x 16�

155

L. BRADY STEWARD GROUP EXHIBITIONS Ice Moon Studios Inc Gallery 2011 — present Agora Gallery, New York City, NY — 2011–2015 San Antonio Children’s Museum — 2006 Villa Cagnola (Vatican monument), Lombardy, Varese Province, Italy — 2005 Pino Raina ( European Art Representative ) 2005 to the present Muhlenberg College, Philadelphia, PA — 1998 Carrol Gallery, New Orleans, LA — 1997, 2004 Louisiana Sculpture Exhibition — 1995 Miriam Walmsley Gallery, New Orleans, LA — 1988–1992 RECOGNITION Frank A. Carlton Memorial Award Ronald Katz Memorial Award Louisiana State Levee Board Letter of Commendation for Saving Lives Tyler School of Art, Scholarship Award Pilchuck Glass School, Mr. and Mrs. William Saffire Scholarship Tulane University Graduate School Scholarship COLLECTIONS

Brady Steward

Matthew Adams (President, The Visual Arts Alliance, Houston, Texas) Philip J. and Charlene Carrol (CEO, Shell Oil Company until 1998 and Fluor Corporation, until 2002) Gene Koss (Art Professor, Tulane University) Josh Landis (National Reporter, CBS News; Director of Programming, ClimateNexus) Klinka & John Lollar (Past President and CEO Transco Exploration Company) Ron and Sally Forman (President, Audubon Institute) Helene & Ken Orce (Senior Partner of Cahill Gordon & Reindel LLP, New York) Susan & Pat Rutherford (President and CEO Rutherford-Moran Oil Corporation) Arthur R. (President, CBS, 1972) and Kathryn Taylor (Vice President of Strategic Planning, RCA) Randy Waesche (President, Resource Management Partners, Inc. Greater New Orleans) Tulane University, New Orleans, LA Muhlenberg College, Philadelphia PA Pat Deacchaud, New Orleans LA

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EDUCATION Tulane University, New Orleans, LA – Master of Fine Arts, 1997 Tyler School of Art, Temple University, Philadelphia, PA, 1992-1993 Tulane University, New Orleans, LA – Bachelor of Fine Arts, Cum Laude, 1992

Ice Moon Studios

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B r ady Stewar d G l as s S c u l p t u re : What See ms

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