This original sculpture is constructed entirely of steel washers, welded by hand, one at a time. This painstaking technique allows the artist to create surprisingly strong, yet airy and curvaceous forms. Wax finish.
45" x 24" x 23"
Ships within 5 days.
STATEMENT There are two main ways of working with metal: casting, in which molten metal is poured into a mold; and fabrication, in which individual pieces of metal are joined together to create a piece. I prefer fabrication because of the directness and the evidence of process shown in the end product. The hand of the maker is seen in every piece of cut, formed and welded metal. I emphasize this personal craft and hand process by constructing with hundreds or thousands of small pieces. Whenever possible I leave the welds exposed to contribute to the pattern of the surface.
BIOGRAPHY L. John Andrew completed a BFA with a concentration in Art Metals from the University of Wisconsin, Stout. After graduation, he moved to Vail, Colorado and worked as a jeweler for five years, making custom gold jewelry. In the fall of 1999 he attended a two-month jewelry class at Penland School of Crafts in Penland, North Carolina. He stayed at Penland for two more years as a recipient of the Core Student Scholarship. This experience gave him the opportunity to experiment with other media and learn from great instructors from around the world. He found his interests shifting from primarily jewelry to larger scale metalwork.
After almost three years at Penland, John went on to pursue his MFA at Cranbrook Academy of Art in Bloomfield Hills, Michigan. The Cranbrook Metalsmithing Department, then lead by Artist-in-Residence Gary Griffin, was unique in its focus. Student work ranged from jewelry, sculpture, blacksmithing, knife making, furniture: literally all things metal. At Cranbrook, John also had the opportunity to learn from and be exposed to the tradition of America’s great furniture makers, such as Charles and Ray Eames, Eero and Eliel Saarinen and Harry Bertoia. John lives with his family in Minnesota.
Orignial sculpture, cast bronze on wood base. 2003
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.
(Anubis is the jackal-headed Egyptian god of the dead, that escorts the deceased into the afterlife)
Recycled cigar box, painted and stained. Non-operable lid. Unidentified metal apparatus (head) and metal buggy whip holder (tail), partial tomb image (torso) with wood medallion. Interior tomb images, with Saharan desert sands (collected by the artist from Saqqara, Egypt) concealed at interior.
"The Elemental series is focused on the relationships between colors. Chemically, I layer colors that do not work well together, and the result is something similar to that of oil and water. While each reaction is unique, I am able to control the density of the reactions from years of careful experimentation. It is easy to get lost in the intricate and subtle patterns as you look closer."--David Royce
This hand blown sculptural bowl is sand etched by the artist. One-Of-A-Kind. In opal/orange/yellow.
5.5" D x 4" H
Ships within 3 days.
STATEMENT In my work I use traditional glass blowing techniques to achieve a variety of both sculptural and functional forms. My approach to glass relies heavily on layering of colors and extensive cold working and carving to reveal those colors.
BIOGRAPHY In 2000, at the age of fifteen, David Royce began glassblowing as an apprentice for Tom Rine and Thomas Maras at Island Glass Studios in Minneapolis. During his last two years of high school he continued to work at Island Glass and also attended Anoka Ramsey Community College in Minneapolis, where he studied studio glass blowing for three semesters. Royce continued his studies at the University of Wisconsin: River Falls in 2002, with the intention of earning a Bachelor of Fine Arts degree in glass. However, his direction changed during his sophomore year while on a glassmaking study abroad program in Taiwan. This experience broadened his horizons and when he returned to Minneapolis he decided to take time off from glassblowing and began studies at the University of Minnesota. He earned his Bachelor of Arts degree in child psychology, with a minor in Chinese language and literature in 2006. In 2005, he re-discovered his passion for glass-making and joined Foci: Minnesota Center for Glass Arts, where he began working as studio manager and instructor. Since graduating from the University of Minnesota in 2006, Royce has been a full-time independent glass artist.
MORE When working with traditional forms that are referentially functional, Royce features clean forms that set the stage for a combination of contrasting techniques. The vessels have a sandblasted surface with a luminous semi-transparency, contrasted by sections of opaque colored glass in organic, asymmetrical patterns. The opaque areas are accented with carving. Royce has a unique approach to cold-work. Often, cold-work stresses a precision that adds a quality of mechanical perfection to a piece. However, Royce uses cold-working in lively and unexpected ways that express movement and depth in each piece.
Eye To Eye Viewer
Recycled cigar box with discarded wood handle and metal plates, B+W amended image at interior with concealed wood rattle.
This functional sculptural clock is handmade from ribbon strip sapele wood which is wrapped around a hardwood skeleton. It features ebony wood accents and an atomic quartz movement. Only one available.
70" high x 23" wide x 13" deep
Ships within 7 days.
STATEMENT I believe a piece of furniture should stand on its own. It should be graceful, yet strong, something you never tire of viewing. The satisfaction of designing and creating furniture by hand is the driving force behind my work. Much of my inspiration comes from the wood itself. Collecting wood simply for its natural beauty is the start of many of my pieces. I appreciate my ability to transform a raw natural resource into a functional and timeless piece of art. It’s one way of leaving my mark in this world. Starting with a mental image and rough sketch, the process begins. Throughout construction, the design evolves in order to maximize form and function. Detailed plans are simply too confining for this approach. There is always solid, tight construction with traditional joinery that is often exposed as a design element. The lines of my designs are clean and concise, and often reflect Asian design and architectural elements.
BIOGRAPHY Colorado native Brian Hubel has had a lifelong appreciation for nature and its beauty. He began his love of woodworking over 20 years ago and his desire to design and create in wood grew throughout college. Although he graduated with degrees in Chemistry and Biology, Brian was devoted to making woodworking his profession and started his own business in 1998.
MORE Awards Best in Wood Art Category Scottsdale Arts Festival, 2010 Design Portfolio 2008, Custom Woodworking Business Design Portfolio 2007, Custom Woodworking Business Fine Woodworking Exhibition 2004, Colorado Springs Pioneers Museum Publications 500 Cabinets, Lark Books Publishing, 2010 500 Tables, Lark Books Publishing, 2009 Source + Design Magazine, 2008 Luxe Magaine, Vol. 4, Issue 1, 2008 CWB Magazine, February 2007 Woodworker West November/December 2005 The Gazette, August 27, 2004
Recycled cigar box, painted and stained, with wall mounts, removable lid with vintage metal handle, modeled mirror, loose rocks, with amended B+W vintage photograph at interior.
Recycled cigar box, painted, stained, operable lid (partially opens) with vintage metal knob and discarded metal wrench. Rusted chain attachment (wall mount option), amended vintage B&W photo, with discarded metal wrench at interior
Recycled cigar box with “I’m Looking For My Ten” Sheet music, discarded liquor bottle with glass marbles and paper collar “missing 10”, amended vintage B+W photograph with marquee signage numeral, assembled with wood handled awl/cork.