Dennis Covey Art

The Future Artifacts Project:

Preserving history with artifacts from the future.

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These relics are the “Future Artifacts” from recent discoveries of rich future ancient art burial grounds.

The Future Artifacts Project is dedicated to the recovery, cataloging and restoration of these
exquisitely preserved high relief relic sculpts created during the Third Reign of Emperor Ascroftus III. Most created, and then eventually ordered destroyed at the Emperor’s own behest.
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We've successfully located multiple sites in what, at that time, was desert southwest of the United Americas, with discovery and recovery operations going on concurrently in several of the locations. We continue to receive additional pointers and clues from each current site that may lead to other potential burial areas and even newer rich digs.
More Relics!
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artifactmap

Each site is quite different, not only in the artists' style but also in how the pieces were dismantled and the various methods of burial that helped preserve some of the later pieces much better.
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So it seems there was actually an evolution of the dismantling procedure and how they were secretly buried in order to best preserve the pieces.
Some in layers, some in special positions by importance. Various methods.
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From a future historical perspective, not only do these pieces offer insight to the evolution of the artist, but also rich subtext of the times during which each series was produced. Each site not only uncovers a chapter in the transition of the artists' technique and style, his attempts to create less objectionable and more acceptable pieces, but also chronicles the rise and fall of The Emperor.
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That's why this most recent find is one of the most exciting. All of these newly discovered treasures are from the Emperor’s own private collection. The artist was in the commission of The Emperor for many, many years . These are among the very first works created. He was initially tasked with creating replica impressions of the Emperor's entire court. Ascroftus III's great pleasure with these finished sculpts led the artist to multiple commissions of several series' of work. The God's Myths and Warriors, classic pieces and even the semi erotic and erotic sculpts that eventually led to Ascroftus' downfall. All at the behest of Emperor Ascroftus III.
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This latest find is believed to be among the first of the works destroyed by the Emperor’s own decree,
many of these one of a kind artifacts were hidden submerged in some body of water before being transported to their final burial site in the desert.
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These are The Emperor's Collection.
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“In the final days of the third reign of Emperor Ascroftus III,
it was formally decreed that all statuary art found to be of “questionable moral” and “irreverent content” be banned, dismantled by torch and buried away from public view.
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The Emperor Ascroftus III
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“The Emperor was descended from a long line of “as’s”
taking on the surname “croftus” ... or land owner .... at the beginning of his first reign to distinguish himself from his fallen formers and bring him closer to the commons by association with the small but powerful remaining landowners. The decree to dismantle the statuary at the end of his third reign was decidedly not about personal disdain for the art but bowing to political and religious pressure from the splinter morality factions that had grown in considerable number and influence.
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For it was well known in the underworld of the “sames” that the Emperor actually had a private penchant for the subjects of the statuary as some of the commissioned figures of his court reveal.
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He was known to frequent the urinals and baths, known congregating places of the “sames” following the forced closure of all sanctioned meeting places, in search of new subjects to add to his collection. However at the end of the third reign, the political and moral climate clouded his future and fearing revolt and loss of power it was imperative to show additional token forms of action and so he sent out the decree banning "these morally offensive sculptures".
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Models for the sculptures were identified by DNA remaining in the pieces, rounded up and "commissioned" to dismantle their respective sculpture.
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“Following the decree the artist disappeared. Some official records suggest he was detained and sent away to oversee the dismantling. Other unofficial writings suggest he was secretly protected by the emperor, however records of the “sames” document his knowledge of time travel and report of his escape to another time and place.”
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* Recent investigations hint at the discovery on this very site of rich visual documentations of these workers actually dismantling the sculptures. These dramatic images could be presented in a forthcoming exhibit.