At the intersection of career, family, and creation comes Finding Time, a collection representative of the value of time and the fleeting moments between. On the surface, Finding Time is exactly what it sounds like: searching for moments to spend time in creative meditation, crafting objects that better connect me with myself and my world. Dig deeper and you’ll discover the historical influence intertwined into each vessel. Within this collection you will find echos of timeless forms and finishes, interpreted into my own creative language, that honor tradition and reimagine historical pottery and art as modern wooden forms.
FINDING TIME
Historical Influences
Foundational to the forms comprising this collection is a catalog of historical artworks whose aesthetic and function have long outlived the originating cultures. Spanning dozens of centuries, these inspirational pieces served as functional vessels with purposes ranging from perfume and oil storage, to drinking, to funerary practices. Each crafted from regionally available materials including terracotta, bronze, brass, wood, and more.
As the chosen medium can often define the overall aesthetic, translating the patination, painting, and aging of ancient vessels into wood provides both limitation and opportunity. Each species of timber responds differently to the patination and finishing process producing completely unique works that echo individual elements of ancient forms. Iodine pigmentation in tandem with charring reflects the black-figure painting style of Ancient Greece, while oxidation closely represents aging of metals.
Images courtesy of Metropolitan Museum, British Museum, Art Institute of Chicago, University of Oxford
Turning and Carving
At its core, Finding Time is an exercise in physical creation. Each vessel is crafted from a wood species native to my home of Spokane, WA and pared down to a form that best suites the timbers properties. You will find pieces created from Big Leaf Maple, Honey Locust, and Box Elder wood, each possessing qualities that lend themselves to particular turning and carving styles. All vessels were turned from wet wood which when dried evokes organic and asymmetrical warping and cracking that add tremendous character to the finished piece.
Each piece begins its journey on the lathe, where the intended shape can evolve into a form best suited to the material. The turning process involves defining curvature, the hollowed interior, and a band that will eventually be carved into handles. The wall thickness of each vessel is turned as thin as possible to best allow warping while drying. Handles are then carved by hand using whittling knives and gouges. Finally, as necessary, light sanding cleans up remaining marks left from turning and carving.
Patination and finishing
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Stage 0 // Raw Wood
The form has been turned, carved, and sanded and is ready to begin the 4 stage patination and finishing process. The targeted appearance is based upon ancient black-figure pottery wherein human figures were painted black onto a yellow or red substrate. While figures will not make an appearance on any of these vessels, the general color scheme and aesthetic aim to represent such styling.
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Stage 1 // Iodine Pigmentation
A food-grade iodine solution is brushed onto the form over several coats. A rich golden color develops and deepens with each additional coat while still preserving the natural appearance of the wood grain. Over the next 3 stages, this color evolves into paler yellows, aged greens, and occasionally striking reds.
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Stage 2 // Oxidation
By combining steel wool and vinegar at specific concentrations, a reactive oxidizing solution of iron acetate is created. It is then conservatively applied to the vessel in a blotching pattern. Over time, a reaction occurs with the tannins in the wood to develop deep green, grey, and black tones. Each species responds differently to this solution based on its tannin levels.
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Stage 3 // Fire
The addition of intense heat to the preceding patination solutions deepens color and can occasionally create new colors. On Honey Locust wood, bright reds emerge while on Maple greens deepen to a striking black. Fire is also liberally applied to the rim to encourage organic edges that add character to each piece.
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Stage 4 // Varnish Oil
Two coats of Tried & True Varnish Oil are applied with steel wool buffing between. This final stage brings out richer, deeper colors and adds depth to the grain of the wood. It also adds a subtle matte sheen that not only looks good but feels nice to the touch.
Stitching
An acknowledgment and appreciation for the natural movement of wood, waxed cotton stitches are added to significant cracks and fissures that not only aid in stabilizing the wood but also enhance the finished appearance.
Meticulous positioning and drilling of holes in staggered locations allow the threads to run parallel and flush with one another. Depending on the where the crack is situated the threads either run continuously on the interior and exterior of the vessel or terminate at a knot on the interior.