During my training in London I was fortunate enough to work on incredible pieces. Repairing and restoring precious carvings on furniture, panels, frames, mirrors as well as learning upholstering, oil gilding and finishing.
With site work installing, repairing and restoring within some of U.K. most significant private houses, public spaces and residences.
An incredible journey.
It’s easy to get lost in time carving. The minutes tick by, sometimes leaving a mountain of visible evidence in its wake. Sometime minutes turn to hours and leave hardly any.
If it’s all about purpose, mine is the process. Learning from each experience for the next one.
Establishing levels, drawing out the design with the tools. Seeing the 3 dimensional forms emerge.
Delicate fine work or tackling with a heavy mallet some of Australian hardwoods, there is the point where you begin and you have to be brave enough to begin, somewhere.
The simple practice of drawing. Just pencil + paper. Pairing it right back to basics, it’s all about the beauty of mark making while struggling to get the essence of the pose.
Next stage is to keep that energy into the 3D form.
Love playing with perspective to accentuate the areas of interest or detail.
This is the excerpt for your very first post.
Exploring and playing with planes different angles and depths started to create a shadow ‘language.’ A process of balancing the design of each square with the balance as a whole piece. Results were fresh geometric shapes playing with the light.
The milk paint finish is a romantic process of activating the paint by simply adding water. Then sieved through a soft muslin cloth at a “pancake batter consistency.”
Porters paint * is a joy to visit/use anytime, a perfect compliment to makers.
The citron lemon was matt and left porous and cut back with a fine paper to reveal some raw timber and tool marks.
Jelutong was a great timber from trend timbers* to work with on this piece as the close grain allowed sharp cuts and turns without breaking out.