Community Faces

Clay faces are created by community members through this process:

  1. Community members prepare simple faces by pressing clay into face molds of the dimensions needed for the art installation.

  2. These simple faces are reworked by youth and other community members to express aspects of their own or their communities' identities, by imprinting patterns on the faces or changing parts of the faces.

  3. These enriched faces are transferred to the Greeley Clay Center, where, under the careful eye of Tim Preston, they are fired (twice) in a kiln and given colors selected by artist David Ocelotl Garcia.

  4. David attaches the faces to specific precast concrete parts of the bridge installations. See here.

Los rostros son creados por miembros de la comunidad:

  1. Los miembros de la comunidad preparan caras simples presionando barro en moldes de cara de las dimensiones necesarias para la instalación de arte.

  2. Estos rostros simples son manipulados por jóvenes y otros miembros de la comunidad para expresar aspectos de su propia identidad o la de sus comunidades, imprimiendo patrones en los rostros o cambiando partes de los rostros.

  3. Estas caras manipuladas se transfieren al Greeley Clay Center, donde, bajo la atenta mirada de Tim Preston, se hornean (dos veces) en un horno y se les da colores seleccionados por el artista David Ocelotl García.

  4. David une las caras a partes específicas de hormigón prefabricado de las instalaciones del puente. Mira aquí.

Timelapse video of one of the community workshops where community members are preparing the initial clay faces.

Video con tomas a intervalos prefijados de uno de los talleres comunitarios donde los miembros de la comunidad preparan las caras iniciales de barro.

  1. Preparing the initial clay faces

2. Changing the faces to make each one individual

3. Delivering the clay faces to the Greeley Clay Center, where they are fired and glazed (painted) to prepare them for installing on the bridges

4. The faces will be permanently attached to the base of some of the key sculptures

5. Arranging the fired and glazed (painted) faces to mount on the sculptures