benchtop, first varnish after putty

I am pleased with the general artistic effect. Difficult (for me) to photograph without excessive reflection from fresh varnish. There remain two major requirements, apart from additional coats of varnish for the varnish's sake:
[1] food safety, to close off all holes and runnels; some of this perhaps with additional putty or perhaps an epoxy clear filler, or whatever colour (blue, green, red, gold) filaments and dots of putty.
[2] kitchen tool and device-proof. This may mean  just seeking a thumbs-up for tough varnish surface, may mean putting some tiles in place as trivets.

Anyway, here is the result of this afternoon's first coat. I do not want to lose the rough-hewn texture, this to be balanced by making food-safe. You will note there is a lot of putty filling gaps. It would be nice to have had all the wood texture, but there were many crevices and large holes. Pleased to do this today after night and morning of fibromyalgic miseries from carrying the beast yesterday, dammit!

life drives art

We are currently doing projects at Helen's house and my house - which to be worth doing must be art, have beauty.

I have had to replace an oven which led me to begin the replacement of cooktop with gas in my kitchen — requiring a much larger bench-top. This I have been building from three pieces of a slab from this ancient of the forest delivered to our Bodalla bush block in last year's flood:

Full of cracks and rot and irregularity I have coloured a water based hard putty with red pigment (used otherwise in painting in house) and worked it into the various grooves and gaps. I've levelled the bench  (having made a terrible mess outside today with ground wood and red powder from hard putty) and brought the benchtop, with its angled hole for gas cooktop, back into the kitchen. The pale timber at the back, fourth slab is a piece of Paulownia.

  [photos can be seen full size by clicking; press the back button to return]

You will see from dribbles on the Paulownia that I applied varnish before the first putty treatment, to help keep the putty in cracks and avoid it seeping into timber generally. Some way to go, tidying and varnishing... and still the horror of not knowing if it will work, if it will look right, bright, exciting — or if I'll have to chuck it out and start again. I think it looks a bit better than the photo, but that may be a parent's view of a messy child. The clear gloss should darken timber and in particular bring the grind-paled putty back towards a blood colour. And look spectacular... :-)

The practicality is in having the cook not entirely facing the wall but with bench at an angle towards oven and convection microwave to the left, room under the front, outside cupboard and under bench, for an extra trolley. Lots of space now on the bench to crowd with stuff, rattle pots and pans.  The stove bench now 1800 long x 600 to 950 deep, you can see the front of the old bench in the new cooktop hole.

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Speaking of Paulownia, I had a moment of excitement during the week with an interest in buying the three (Paulownia) panel screen that I put in an exhibition in Huskisson last year... but after a flurry of emails, the interest went away, so here the screen is, as photographed last week, available to you!  :-)

Here was the earlier life and death of the Paulownia, the first photo showing cutting of a Paulownia log smashed down by the big Eucalypt 15 months ago; second photo shows slab cutting. I have not been fit or well enough since mid-2010 to spend enough time at Bodalla working on that situation or retrieving and using lumber; very happily we have a family living in the cottage now, they got to experience the flood of March 2011, when the Tuross River downstream rose from 2 metres to 12 metres in several hours.

Art by the Sea

I have four paintings and the three panelled screen in the Art by the Sea group show at the Lady Denman Museum in Huskisson, 18 December-16 January. In a note hung with the screen, I said I had put a catalogue of other work at aplaceof.info - So I've done an artist's statement with some works for sale, here.

There is a great variety of work in the exhibition, wonderfully arranged on the walls at the Denman art space by Judy and John Brown. This a smudgy iphone photo from the opening by Helen Nugent.

This photo taken at home shows how the screen is set up in boudoir mode...

three panel wood screen

I have carved relief images on one side of three panels and fitted the panels together with brass hinges. The other side without images, still rough-sawn with some sanding and polishing. My own sense at this moment is taken up entirely by the difficulty of working the Paulownia, which is a bit like carving the inside of a pineapple skin, with some cheddar on the sides. Sort of, not entirely but... Anyway, not time yet to judge whether the screen is merchantable, it should do for hanging photos at the December-January exhibition at the Denman.

If placed as an item for sale, I will put an oval gilt mirror on the centre panel of the blank side (see third photo), also offer a photo shoot and framed photo portrait to decorate it.

Here are two photos of relief-carved side of panels, one of the plain side. Yes, there is a small brassy decoration on that hand, a string of beady things on a top corner. Note that the sides of the heavier, higher central panel have been trimmed straight and vertical, while the side panels (legs on the left, Labrador on right) have not been trimmed at all, the hinges are slightly away from the margin.

panels for exhibition

As mentioned earlier I wanted to make wood panels to add space to the Denman exhibition over Christmas.

I may in fact have a screen at marketable quality. From paulownia, which I planted in 1993.

I plan three panels for the screen, in zig-zag, at this stage lesser panels (170cm) on either side, a large 2 metre panel in the middle.

The centre panel's sides have been cut to a straight edge. The side panels retain natural tree trunk edge. Hinges will be fitted to the sides of the centre panel and a couple of inches in from an edge of each of the side panels. Foldable, portable, like this   \/\     but right angles to stand in the room.

While sanding the major central panel I found there were three knots in the wood, immediately suggestive of a form (the third was going to be a navel but an arm got in the way so it appears to be a stigmata). Click on images to enlarge, 'back' to return.

So here is the roughed out panel centre panel and the yet to be thought about properly side panels. The leg form of the side panels was determined by stress cracks in the slabs. As art works will hang on these side panels they will not be ornate, may simply be polished as is.

photos, wood panels

I asked Jervis Bay and Basin Arts if I could submit a bunch of photos for December-January exhibition and they said thanks for checking early, we can't accommodate that many. So I said what if I provided a wood panel to put them on in the middle of the gallery. And we have agreed on some such ... So gosh I have to work on a screen of three panels, zigzag form such as famous theatrical beauties used to change behind in their dressing rooms before people began undressing in front of the camera.

No photos of the photos in question, nor the beauties mentioned, nor photos of the wood panels, but they will be from 20mm x 1700mm x 4-500mm slices of Paulownia, as in photo.

wood carving

I have become aware of some excellent items around the house where I can built experience with wood carving.

Two years ago I had a large cypress cut down in the front yard. There is a big stump still out there for me to carve when a little more experienced (entirely in the public eye). There is, from the same tree, a post in ground in the back yard, which I put there with a view to carving one day. And there are two benches, sliced halves of that cypress, in the back garden. Today, brain fagged with a virus and restless, I was able to go and work on one of those logs, part done a figurative carving, practice for the big vertical items.  Here below is a progress report in photos. As I worked I was thinking of the Etruscan woman whose tomb we saw in Viterbo, photo here. The tools I am using are the Pro-4 Woodcarver and the Mini Grinder from Arbortec. The burn marks, which I may leave for effect (ears, eyes, hair, breast), are caused by using the Mini Grinder with the cutter getting blunt.

Enough done for today, nice to be able to go look and think about where to go next. Already been interesting, you shape it then you realise as a novice that it still looks like a block of wood more than anything else, and cut more and more and more. I came to the view that for the artistic form the minimum amount of remaining wood is probably the ideal and also most real or moving... but that is to be balanced with the practical need to sit on her...

Bottom and legs not yet begun. Some detail and refinement in the upper body needed. Having worked from above, seeking satisfaction looking at it from above or obliquely close up, when I walked to the house and turned around to look from a distance, she looks a bit dim and half faced. I will have to lie down to complete shaping the face, including the lower side.

wood carving

I have been carving a burl cut from this great log

and realised just now, in the evening, talking to a friend and trying to describe it, that I have been so preoccupied with the carving that I have failed to photograph it. As burls go it is very big, about 50cm x 80cm, and 25cm deep. Old, complex, dark swirls from fire and - in the swirls - traps of black amber, surely the product of the baking of sap in bushfires. I am endeavouring not to carve out a bowl form but a landcape. The tree washed into our place by violent flood. The burl reveals now, as I carve, shapes which evince the rugged landscape where the tree grew. So I am calling it Forest Escarpment. The form evolves, not defined in advance, shaped by its own natural swirls.

This is a primitive flash photo, I need to use daylight to effect to show the carving, which is up to 10cm deep now, in basins and ravines. This is a pretty poor way to display this, I will do better next day or so.

... and as to quality in the carving of burls, here is some extraordinary work, albeit with very different wood from the type and character of the wood I am working on... it encourages me to seek refinement...