Tag: mobius strip

Art Exhibition at CASC

The five Artists in Residence at the University of Chester have held an exhibition at CASC in the Grosvenor Precinct in Chester which has now come to and end. The pieces that I was exhibiting are now back at my studio and are available for sale.

I had four pieces in the exhibition which together are called ‘What Lies Beneath’ and ask the question do we care enough? Do we care enough to do anything about it?

The faceless mass of refugees,

In the fading sands of time,

How easily we forget them,

When they are not yours or mine.

Reciprocity 1 and 2

Dreamer

Innominate

Eternal Love

I have recently finished a new piece in spalted beech called Eternal Love. A bit tricky to carve as beech is quite hard to carve and the spalting makes the grain a bit unpredictable However the beautiful grain rally suits and abstract piece like this.

Spalting is caused by fungi growing in the living tree or after it has died and causes unique colouration and patterns in the wood. After carving it was sealed with two coats of Danish oil and finished with bees wax.

Eternal Love is a Mobius strip which is basically a strip which has been formed into a loop after giving one end a half twist. This creates a form which has one continuous side and one continuous edge, an infinite loop. It is a symbol of infinity, eternity and unity where two sides become one intertwined form.

New Carvings for Exhibition 2023

I have been invited to take part in an exhibition at Oakmere in Cheshire this year and so I am preparing some new carvings for this and other exhibitions. Here are the first two. More to follow soon.

‘Oceanic’ is now completed and has been selected to take part in the open exhibition at the Williamson Art Gallery from 5th-29th April.

I have nearly completed a piece in tulip wood called ‘Reawakening’. It just needs its final coat of wax and the plinth finishing.

Carving Oceanic

My last few posts have been about carving a Wave Form from the start of an idea, making it in plastercine, carving it in lime and applying oil and wax to finish. I have called the piece Oceanic. I guess it will evoke different memories for different people. For me the Mobius strip at the centre reminds me of the welling strength of the sea when we went surfing as children, and sitting listening to the rhythmic sound of the waves on the shore.

Make a maquette
and refine it
Prepare a template
Draw it on and start to block out the shape
and continue roughly forming the shape
Develop the wave
Refine the spiral
Improve the shape and finish
Apply oil and wax

Using oil and wax to seal and finish a carving

Once the Wave Form had been smoothed I used an old T shirt to apply a coat of Danish oil and turps. The turps thins the oil so that it sinks into the surface of the wood, nourishing it and sealing it as it dries. It takes 2-3 days to dry depending on the temperature. Then a second coat was applied. a thin coat that completed sealing the work, but not so thick that it becomes shiny. Again this is left for 2-3 days to dry. Finally I applied a coat of bees wax (not a synthetic wax) and buff it up to give a silky smooth tactile finish.

Only when oil and wax have been applied can you see the depth of colour and the grain which are enhanced by the oil.

Now what to call it?

Finishing the Wave Form

Once the carving is fully formed the process of smoothing starts. This often takes me nearly as long as the actual carving. It starts by using a variety of chisels to gently take off the uneven surface from the whole carving. Whist I do this I check for bumps to remove and sharpen and smooth the edges. This is followed by using a variety of scrapers with different curves to create a really smooth surface. As this happens my eye is drawn to any irregularities that still need correcting. I do this over a few days as each time I look I see a new slight imperfection that needs correcting. I look at pieces from all angles and often use touch to check the smoothness and regularity of the carving.

Seeing the smooth shape is very satisfying the the actual process is really time consuming, but necessary if a smooth shape is desired rather than a chisel finish.

All that is left is the application of Danish oil and bees wax.

Refining the Wave Form

Once the basic form has been established I then continue carving. I improved the wave on the right making it more delicate and carving up under the wave. The left side then had to be balanced making the form swing towards the front and a smaller wave lifting at the left side from underneath. the central double spiral then needed opening up and defining. This is where the plastercine model comes into its own as the edges of the spiral at the front need to match up with the edges at the back correctly to form a Mobius strip (it is really easy to get them wrong and form a figure of eight). I increased the concave curve of the inner surfaces to emphasise the sharpness and clarity of the edges as they pass through the centre.

This process takes me a number of days to allow time for the carving and to take time to stop and think about the form. To bring a fresh eye to it and check the balance and flow, and to check the spirals are even smooth curves. At this point the form is nearly complete but has not been smoothed.

Carving the Waveform

Once the excess wood has been removed form outside the areas marked as the outline it is time to define the actual shape of the carving. I started by drilling a hole to pierce the piece, and then carved the double spiral that will become the inner surface of the Mobius strip. This opens up the hole, although at this stage I do not carve the Mobius Strip edges accurately. I also carved the wave form at the right hand side and the lead into the wave on the right. I try to keep much of the base uncarved and flat, and some areas of the sides so the work can be held in a vice.

At this stage I always think that my work looks heavy and ungainly. The proportions and shape are not right yet. Experience dictates these will improve as the carving progresses.

Roughing out the Wave Form

Today I drew around the templates onto a piece of kiln dried lime so that the outer edge of the sculpture from the top, bottom and both sides were outlined. Then I removed the wood that was outside the outline quickly with a number 5 16mm gouge and my trusty mallet. Getting rid of the surplus wood leaves a rather unattractive shape, but it is ready for refining and the actual sculpture being carved from it.