This geometric origami pattern cast in glass was inspired by waterfalls in the Lake District of England. Although the piece is still, the repeated patterns are reminiscent of water hitting rocks with force and catching the light. Joint work by Anna Lee Chalos-McAleese and Andrew McAleese.
Five squares of rotating subsquares all have same woods but in different combinations. Woods include cherry, oak, cedar, bamboo, pine, walnut and purpleheart. "I seek patterns that don't reveal themselves readily but have to be discovered by contemplation."
This hand crafted intarsia inlay is a study of the edge between pattern and randomness. Traditional joinery techniques using butternut, oak, walnut, ash and cherry was employed in constructing this piece. Walnut sticks were first cut diagonally, then wood veneer was inserted and the sticks re-glued. These sticks were then cross cut to make the repeating unit of the inlaid pattern. Units were rotated and flipped before fixing into the field.
This intarsia wood inlay is an early example of the artist developing his solid wood intarsia pattern inlays. By presenting the end-grain of crosscut sticks of wood, he could develop repeating fields of pattern. Hand constructed using traditional joinery with ash, cedar, walnut purple heart and poplar.
An abstract landscape is handcrafted by the artist, beginning with rosewood as land. A vee-grooved cherry panel forms the horizon above. An intarsia square of walnut purple heart and ash, suggests a sunrise.
The artist handcrafted this piece with intarsia wood inlay, carving and traditional joinery using a variety woods including: Honduras mahogany, hickory,walnut,poplar, cedar and birdshot. (This was imbedded in the tree before it was cut down). The lower panel is a carved transformation of the upper inlay pattern. The title of the piece refers to the location of the artist's studio where he developed his unique pattern inlay process.
Traditional joinery was employed in this intarsia inlay. It was hand constructed by the artist using traditional joinery with white pine, cedar, maple, purple-heart and walnut. Vee-grooved pine panel, an old drafting table, provides a field for the intarsia pattern. The repeating squares of the inlays repeat the configuration of the whole with the light and shadow of the grooves repeating in the light and dark woods of the inlay. The inlay is thus the template for the full object as a Seed.
This wall-hung construction site reference incorporates steel, aluminum, brass, acrylic, walnut, cedar, mahogany, ebony and slate. "I used a composition of building materials to develop a visual symphony: music for the eye."
"The four woods of the color field interlocked at random when I first arranged this composition. I then rearranged the chips to separate or distill into light and dark layers as a still separates different liquids."
The artist employed ash, cherry, walnut, redwood, cedar and poplar to create this piece.