More New Work and New Titles

Here are some more images of new work. This first one is a continuation of my wedge series, being my forth. For what ever reason (perhaps the sub-zero temperatures we are experiencing in Vermont right now), the red in this piece reminded me of the redbud tree buds you see while driving around the North Carolina country side in April, hence the title. It was made by laminating a sheet of walnut veneer between two 2" thick boards of curly maple so there is a fine black line between the two sides. It hangs flat against the wall by resting on a cleat that sits inside a mortise.

Carolina Spring (left side)
shellac on curly maple and walnut
29" x 4" x 9"

Carolina Spring (right side)

The title of this piece is based on what I think is its celebratory feel, looking almost like confetti falling down. The maple is about the whitest I have ever worked with and is a dramatic contrast to the almost black of the walnut (hence, the different colored background). The thin diagonal lines running across the maple is a walnut veneer that I glued vertically between the maple quadrilaterals. It rests on a cleat that off-sets it one inch from the wall.

Forever Holiday
shellac on curly maple and walnut
41" x 25" x 1"

Along with the pieces above, I had professional images taken of work that I completed a couple of months ago. I retitled the one below (mentioned in a earlier post) A Tear of Joy and Profound Admiration because I decided that my work is much better with poetic titles rather than descriptive ones. The line came to me when I heard that Nelson Mandela was recently hospitalized and I thought, how sad, but an instant latter I thought, but he is 92 and we should be more happy about the life that he has led than sad he is nearing the end. It is a lot of pressure making work that has to live up to the titles but it is also better that the title add something to the piece than for them to just be an afterthought.

A Tear of Joy and Profound Admiration
shellac on curly birch and curly maple
52.5" x 32" x 1"

I also retitled this piece (mentioned earlier here) Green Chimneys, for the same reason. It is named after a Thelonious Monk tune because I feel it has a musical feel that is somewhat similar to the unexpected notes he would play. I also like how there is "green" only in the title, adding a little mystery to the piece.

Green Chimneys (right side)
shellac on curly maple and cherry
49" x 20" x 4"
Green Chimneys (left side)

Now that I have these pieces out of the way I'm trying to finish another ribbon (from this series) in time for the Baltimore ACC show at the end of the month. I went to the lumber mill last week and picked up a beautiful board of curly birch, 9" x 3" x 10'. I was planning on picking up a thick board of cherry but what I found was a third the price and much more interesting. I'm excited to seeing what comes of it.

The Revolution Will Not Be Televised - Finished

Over a year ago I posted an idea I had to recreate the color TV test pattern as a wood sculpture. Well, I needed a full twelve months to think about it before making my first cut but I've finally finished it.

The Revolution Will Not Be Televised
shellac on curly/bird's-eye yellow birch, bird's-eye maple,
curly maple, blistered maple, and walnut
36" x 49" x 2"

The colors are very difficult to reproduce with shellac but, hopefully, I got close enough that the viewer is reminded of my inspiration. I like the idea of transforming something so common and hideously ugly into beautiful art -- a challenge in both concept and execution.

The title, of course, comes from that great Gil Scott-Heron song/poem, linked below (for a second time) for your listening pleasure:

In finishing this piece, I finally figured out how to make the Baye Fall sculpture I've been thinking about for two years. Now, if I can just find someone who wants a spectacular 6' x 6' x 2" wall piece, I may just start it.

2011 Winter/Spring Show Schedule

As far as I'm concerned, there is only one good reason to leave Vermont, and that is, to sell art. Though it is a wonderful place to live and make art, it is truly a shitty place to sell art. Hence, I have again scheduled out-of-state shows for the winter/spring season so people unable to make it to my Montpelier studio can see my work. For your convenience, I will be at the following venues:

Baltimore American Craft Council Show, February 24 - 27 (Booth 3301)
One of the biggest and best shows in the country. Around 700 top level artists from all over the US and Canada. I will also be participating in the wholesale show on the 22 and 23 because it is attended by several hundred galleries and should help with developing relationships with some established retail venues. I'm going to have to start marathon training to get ready for the six days (eight hours plus per day) of standing and talking.

CraftNewYork, April 1-3
I was a little hesitant to commit to this show because of the expense and the fact that it is a first year show at this location, but the promoters have many years of experience running shows in New York and have a huge mailing list, in addition, I know the show includes many great artists that I'm more than happy to be associated with. At the very least, I look forward to getting a good blog post out of writing about other wood artists at the show. Hopefully, I'll also find some time to checkout some Chelsea galleries.

Paradise City Arts Festival - Northampton, MA, May 28-30
This is always a good show. It is guaranteed to have good attendance and the attendees seem to be particularly appreciative of my work.

I have several exciting new pieces that I'm trying to finish up for these events and will post images in a couple of weeks.

Belated Praise

Back in September, during the Burlington Art Hop, I came across these two great wood sculptures by Waterbury (Vermont) artist, Nori Morimoto, Volcano, made with bird's-eye maple and Wave, made with ash.

Volcano
bird's-eye maple

With Volcano, he has created a landscape that is both natural looking and other-worldly. It reminds me of a moonscape or perhaps the surface of a distant planet. Bird's-eye maple was a good choice for this type of sculpture because the "eye's" really stand out, adding extra texture to the surface. I'm sure he sandblasted the surface to get the effect and, based on a similar piece on his website, I believe he ebonized the left side by burning it. The quality of the bird's-eye maple is exceptional. Any woodworker would have loved to have gotten a hold of it, so it is great that it wasn't turned into a boring piece of furniture.

Volcano (close-up)

I find Wave to be aesthetically interesting and technically confusing. I love the contrast between the light/dark and the waves/blocks; the randomness of how it alternates between waves, blocks, straight lines, and gaps;

Wave
ash

that there are enough gaps on the right side to see the wood grain underneath; and the lack of fastidiousness, that imperfections are part of the art.

Wave (close-up front)

But what I guess I find most interesting is mystery of how he created the waves. I have one idea but I don't really think it would work and I'm torn between wanting to know and thinking it would be better to just be mystified.

Wave (close-up right)

Upstairs At The Renwick Gallery

Upstairs at the Renwick Gallery there is always more great work on view (which I visited after viewing A Revolution In Wood), some rotating, some on permanent display. My favorite of the permanent work is Wendell Castle's Ghost Clock (1985). The label says they acquired it in 1989 but the first time I noticed it was in the mid-90's (maybe '96 or '97?). It was placed between a couple of display rooms in a foyer-like space so it was particularly difficult to recognize as art. The only reason I noticed it was because the guard called me back after I past and told me to take a closer look at the label, which read simply, "bleached and stained mahogany." Still in disbelief at what I was seeing, he told me to look behind it (being placed in the center of the room, I was able to do this) and up from underneath to see a spot where the "sheet" and "clock" are connected. It has since been moved to a more recognizably art location, probably because the guard got tired of calling people back to take a closer look, and it now has its back to the wall so you can't get behind it, thus you'll have to take my word that there is a tiny spot (and only one tiny spot that you need to get on your hands and knees to see) where the deception is revealed. Update November 21, 2011: I was at the Renwick a couple of weeks ago and noticed it has since been moved back to the center of a room, so you can now inspect the entire piece to your hearts content.
The perfectly carved wrinkles, puckers, and dimples make it particularly deceptive. In addition, on past viewings I've felt that he somehow was able to sculpt the weave of the thread into the wood but on this last visit I finally realized that the open grain nature of mahogany creates the effect of giving it a thread count.
Also upstairs, as part of their rotating exhibit, was this piece by Christian Burchard, Basket Series (1997), made with madrone. He likes to collaborate with nature in creating his sculptures and these are a good example. It looks like he charred them to get a black interior. The brown exterior and the naturally warped surface gives them the look of leather and help the viewer to recognize that these objects came from a living thing.

It was interesting to see that Christian's piece was donated by John and Robyn Horn and across the room was this piece, Slashed Millstone (1996) made by Robyn Horn. She is in an elite group of collectors that are also great artists. I find her work interesting in a number of ways but in particular I like how she uses wood to create sculptures of stone. It is a little humorous really, but it also makes sense, you can't really make a sculpture of stone in stone without it being the object rather than the sculpture of the object, and other media (clay, metal, glass) would look too contrived or artificial. Wood, on the other hand, provides its own natural irregularities that mimic metamorphosed sediment. This piece is made with ebonized redwood burl.
It was also good to see Binh Pho's work. This piece, Journey to Destiny (2003), is made with oak, maple, gold leaf, acrylic paint, and dye. I saw a show of his work in one of his galleries over the summer and learned that he still works a full-time engineering job, which seems impossible given his level of art production and the intensity of his work. He must not need or want sleep.
And finally, there was this piece by Daniel Essig, Book of Nails II (2003), made with a virtual short story of materials -- mahogany, various metals, hand-made flax paper, velvet, linen thread, mica, trilobite, leather, paint, stains, and epoxy. It caught my eye because it reminds me of Janet Van Fleet's work with its use of nails and books. Too bad the museum has a case over the piece preventing visitors from handling it; the book would be interesting to close to see what it looks like with the nails surrounding the carcass and feeling their hard edges. It is very intriguing, a lot to look at, play with, and think about.