The sun, the earth, and the moon

Another post from beyond. Days have been quite busy in this neck of the woods. I suppose I shall tackle things by list today, in hopes of not leaving anything out.
The Atlanta Journal Constitution published a review of the StillmoreRoots exhibition hanging at the Ty Stokes Gallery in Atlanta- http://www.ajc.com/print/content/epaper/editions/sunday/arts_44f6e5c6033412d10058.html
Item 2- The artwork has been keeping me busy. The creative schedule has changed, I find myself creating more in the early afternoon these days over the early morning. I am speculating this may be in relation to the longer days, a later start for summer classes and a large block of time in the early afternoon that makes it prime for creating. The sun is out, the plants our blooming, the bees are buzzing, it's generally a good feeling to be outdoors creating. The work is shifting as thoughts often well. One step leads to another- those of you were able to attend the Ty Stokes exhibition or the Art in the Woods event would have noticed the use of crates at both exhibitions. The current body of work is an expansion on that idea. It spawned, the use of crates, the second semester of graduate school as a happening. The crate was locked then as the crates are now- the difference being that at that point and time there was an attendee at the event who held a key. For the current body of work the key, in the begining, is unaccesable to the viewer. The most recent body of work involving the crates exhibits a twist in this reference. In the last six crates created, the key is nailed to the front upper right corner of the crate and then sealed in melted bees wax. The key is very much indeed obtainable, if it is so desired with enough cause to release it from it imprisonment to the crate. This, for me, creates an interesting situation. The viewer may be posed with quite a few questions at first observation- is the art work the aeshetic appearance of said crate with the addition of the lock and key being elements of design and nothing more- Does anything exist within the crate? Is it worth mutilating the front of the artwork to satisfy a curiosity? Is whats inside important enough to be contained with lock and key, if so, then why use such weathered wood (reference number one, bryan ghiloni) in the contruction of the crate? Will the crates be opened at alternative venues? Should the crates themeselves be appreciated for their asthetice value (if any) or for their conceptual value (if any) or perhaps both if both can be found? Perhaps the value of the crates should be placed on the objects, if any, that exist in side.
I could keep asking myself questions- it helps formulate new ideas. I would like to leave many of the questions up to you, the viewer.
The works do reflect two things- one is the efforts, passion, and ideas of my colleagues in the StillmoreRoots Movement. They are all referenced in these works, in some way, shape, form or fashion. Two- the works do reflect a sense of place- in some ways abstractly and other ways conceptually. There is more- but some things must be left to the viewer.
I am also at a crossroads of leaving ideas I continously fall back on to explore new avenues and venues- digging through sketch books, reanalyzing old thoughts- rethinking past memories.
The creative process is..........start it, the creative process, and then you fill in the rest.
I have yet to cover everything planned, but I will save it for another day.
Peace. It's something the world could use a bit more of these days.