A Chip Off...

Chip Bjorn

Having the loan of a chainsaw made roughing out a new stand for the bronze "For Sheena" that much faster - it also produced some nice cut pieces... so there's fun to be had seeing what is in those interesting shapes.

Today the new stand - "Petal for Sheena" is at Herring Island and I'm off to the opening! It looks like perfect weather. See you there.

The ASV Annual and Awards Exhibition

In amongst everything else I managed to put my work into the show. The foyer of 120 Collins Street is an awe inspiring spot - the ceiling is very high and there is a skylight way above. The 105 odd works fill the place reasonably well -  and my three are in there. I've got two works from previous Herring Island shows and one new one.

Four Horsemen

The Four Horsemen sit pretty well - even though that particular work would go best against a wall. I put together a YouTube clip to explain the concept of that one ... I wonder if I'm imposing my interpretation on an unwilling audience?

Release the Dream

Then there's Release the Dream that decided its own mood .... a lovely piece of Manchurian pear wood that came from Canberra.

After that the new one - a piece in wire and plaster coated with polyurethane by Austuf and then painted... and that was fun! Here's the background for The Pelagic Creation:

In the beginning, Eurynome's movement southwards caused the North wind to spring up behind her. She turned and thought this looked interesting and rubbed it between her hands. So was the serpent Ophion formed. They danced and coupled, then Eurynome became a dove and brooded their egg on the waters. From this egg all living things were born. Précis from Robert Graves Greek Myths. The work is painted in homage to black opal – a distillation of the primordial sea. It would cost five times as much if cast in metal.

The Pelagic Creation

The photography of the show was a marathon effort - although Rob Anderson took it in his stride - I suspect he works that hard every day. It will take a little longer to get all the data entered on the ASV website... still glitches in the system for entering prize winners - but it's getting there.... wish us all luck.

And this one says....

"Pardon me thou bleeding piece of earth..."

Thus spoke Shakespeare's Mark Anthony addressing the newly dead Julius Caesar of his need to negotiate with Caesar's murderers. I'm regretting my complicity in the economic system that made these trees "surplus to requirements".

The trees were planted in 1916 - in a paddock of thistles. Henry and Dolly and their six month old baby put their first energies into establishing the orchard - and it bore fruit in 1920. You can see the fine grain of the annual rings - but I know now how this one will go so I won't sand any more until the shape is ready.

More of the story in an interview with Aimee Volkofsky at http://www.abc.net.au/radionational/programs/bushtelegraph/tree-pull-sculptor/5095778

Fruit Wood - the start

a stick with cracks... but William pear wood

The wood looks pretty shattered - being felled by bulldozer is not the ideal way to start a sculpture. So I picked the smallest piece and figured I'd have a go and see how the pear wood responds to the tools.....

It's a bit softer than the Manchurian pear so I'll have to see what sort of polish it will take - when I get to that point... Still this piece has some grace and reminds me of my Nana.

and under the bark there really is some nice wood.

My maternal grandparents retired to Mornington just after the second war. They considered chickens at the start but Grandpa worked out it was cheaper to buy the eggs. By the time I came for summer holdays the fruit trees were well established. They had two sorts of peach, apricots and plums. I remember hot days - I just sat in the shade and ate the best fruit but Nana sat up in the hot west window of the kitchen bottling fruit as hard as she could go - "to save its life". On other days Nana was tall and elegant and dressed up to the nines and went shopping in town with her friend Mrs Murray.

Collecting Fruit Wood

There was a touch of panic after I decided to start this project - it was just forming as an idea when I heard that the trees being pulled out at Shepparton would be burned as soon as they had dried out - and before the fire season started. So with help from people in the fruit growers association I set off to Shepparton in a rented moving van - fortunately with a friend - and looked at the mountains of trees awaiting their fiery end.

remains of the William pear trees

Three great piles of William pear trees that were already planted and growing there when Marley's father bought the orchard in 1948 or 49. All around other trees were blooming - their fate sealed by being a different variety suitable for the fresh fruit market.

Packham pear blossoms

new apple trees leaning out of their double rows

apple blossoms

As it turned out the orchardists were flat out that day - there was a storm with rain coming and the trees had to be sprayed beforehand. All around you can see the different way the newer trees are trained - apple trees in double rows leaning out must yield their fruit more readily and likewise open to the sun as needed.




One thing I was glad to have was a strong Dutchman to cut, and roll and wrestle the big ones into submission:

Jasmine's Ent

Just a little branch off the Manchurian pear tree - but the Ent spirit wanted to stand there.

and is he happier now?

In the mean time

While the studio is being built I can carve wood. I bought a few new tools - but in the end there is nothing like my great aunt's beautiful chisels and acquiring a bit of skill. And the wood from fallen branches of the Manchurian Pear.

Carving - the coolest experience

I inherited my tools from my great aunt. She was pretty cool - an astrologer, novelist and sculptor. It is a privilege to hold her chisels and think that I am continuing in a family tradition. I didn't start sculpture with carving - first I learned to model in clay and cast the work, then I learned copper fabrication... then a branch fell off the Manchurian pear tree in my mother's garden and I was on..... well it wasn't that simple - Margaret Gunnersen Thomas's assistant Peter Quinn turned a red gum mallet for me, Kevin Free gave me a few tips and got me started and Hank bought the Superjaws to hold the work... it takes a lot of support to build a sculpture. :-)
It's pretty amazing watching the work emerge from the wood. I roughed it out with a carving disc on the angle grinder and took it to Herring Island for the demonstration event on Australia Day.
So then came the business of refining, then sanding and polishing - will it ever be finished? Well here are the stages so far: so that's in May - takes a while doesn't it? And then comes October and I'm still sanding. Well life goes on, and on, and the miracle is I'm still learning. Just wait for the fantastic time when I start putting the oil onto the wood. Her name came up pretty early - the Keys to Canterbury - Oh Madam! I will give to you the Keys to Canterbury, and all the bells in England shall ring to make us merry, if you will be my joy, my one and only dear and walk along with me anywhere.

on exhibition Herring Island 2009