preparation | Jo Burton Sculptor and teacher of woodcarving

Experiments in scaling up

As part of my residency at the University of Chester I have been doing a project on scaling my work up. I decided to enlarge reciprocity.

This has involved 3D scanning an existing sculpture and using software to divide the sculpture into slices with pre-set thicknesses that match with the plywood or planks the final sculpture will be made from. Enlarged outlines of each slice can then be transferred onto paper using a CAD machine. These outlines can then be copied onto plywood or planks of wood and cut our using a jigsaw or scroll saw. Each slice needs to be labelled so it can be positioned correctly before sticking and clamping together. This created a rough and unrefined version of the enlarged sculpture which can then be refined using chisels.

I found it was more practical to make the sculpture from vertical slices as there were only about 10 of them and they were easy to fit together. I did try horizontal slices, there were about 50 tiny pieces and it was very hard to identify their correct positions.

My first experiment was a small increase in size from about 30cm heigh to about 45cm high, so a 50% increase in size. for this I hand produced paper templates, drew them onto planks of black walnut and cut them out with a scroll saw. before gluing and clamping the tree pieces together. Once dried I used chisels to refine the shapes and create the inner curves and smoothed the surface. The black walnut took a smooth finish really well and looked great once oiled and waxed.

So next is to use to a CAD machine to increase the scaling and the accuracy…….. more to follow.

Preparing for events in Summer 2024

This Summer I am taking part in Wirral MakeFest on 1st June at the Williamson Art Gallery and Museum and Wirral Open Studio Tour on 8th-9th June from my workshop in Heswall. The exciting news is that I have a new studio arriving this Wednesday and hope to have it set up intime for WOST, so I am really busy with preparations. I would love you to call by and see the studio and new pieces of work. Details of locations can be found in the WOST brochure or online at wirralarts.com and for Make Fest at wirralmakefest.org

I have carved a number of pieces this year including Gaia, a swirling form of interacting shapes creating balance and harmony, and my ‘Seaweed Ladies’, abstracted human forms that give every appearance of communicating with one another. I have continued my experiments with mobius strips in spalted beech.

I have also submitted work to exhibit at the Liverpool Art Fair, as part of Affordable Art and am approaching a couple of new shops to stock my work – exciting times. More to follow on this soon.

Doing a commission

I have done a number of commissions over the years. It is a very different process to carving for an exhibition of carving because I have an idea that I want to develop and explore. It starts when I am approached and asked if I will carve a specific form or a particular piece of wood.

My favourite was a beautiful piece of wood from the branch of a tree that the customers mother had been very fond of. The wood had been found in the attic recently, could I make anything from it. We looked at many pieces of sculpture to help me understand the customers likes and dislikes.

I then made a plastercine maquette of an abstract sculpture based on the shape of the wood and thinking about the relationship between the customer and the mother. I invited the customer to come and view it and discuss the details and some possible options and the limitations and characteristics of the wood. I gave the customer a quote and time to think about the project.

Once all was agreed and a 50% deposit paid I started to carve the form, this was very daunting. It was a unique piece of wood that I could not replace if anything went wrong. When I am doing a commission there is the additional pressure of meeting the customers expectations. I try to manage this carefully by making a maquette and discussing aspects of the sculpture in advance. You cannot be sure of exactly what you will find inside a piece of wood in terms of cracks and imperfections that might alter the course of a carving. I invited the customer in a couple of times to see the carving as it progressed and to discuss details of the finishing process.

Once completed, oiled and waxed the commission was ready for its final viewing, payment and then to go to its new home. So far customers have loved the work I have produced for them, and for me a great sense of relief of completing a commission successfully.

Carving Ocean Wave

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 Ocean Wave. 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.

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.

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.

From Maquette to Carving

Before I start to carve I often make templates from my maquette and scale them to fit the wood that I am going to carve. For this carving I drew around the base of the maquette and drew the outline from the side. The maquette needed scaling up by x1.8 so I used my printer to make a 180% copy the drawing. Then I cut the outlines out to make the templates.

The templates allow me to transfer the outline shape accurately onto the wood. Then I can quickly carve the outline shape and redraw it on if I carve away the outline.

They look a little weird, but allow me to remove surplus wood quickly and efficiently.

Modify the Maquette for the Wave Sculpture

So after a nights sleep I have modified the maquette, I think it is a bit better now. The left hand side seems to lead into the wave and there is a greater sense of balance as the piece starts, builds up and breaks over the top.

So I’ll sleep on it and then start carving if I am still happy.

Making a Maquette for the Wave Sculpture

I have been thinking about the forms I want to use in this wave sculpture for a while now. I really like the sea and the work of Barbara Hepworth.

I often develop my initial ideas in plastercine. It allows me to keep developing ideas as I go along, even once carving has started. This is a scale model of what I am going to carve, about half the final size. The Mobius strip is fine and I like the rolling nature of the wave form. I am less sure about the left hand side (it reminds me of a slug on this model), to I may play around with that over the next day or two. It is important to get this right as it will affect the initial cutting of the outline of the shape in wood and once this is done I will be committed to a certain shape.

I like the Mobius strip as a form, its sense of flow, the way it creates light and shade within a sculpture and the symbolism relating to love and infinity. Creating a wave from the edge if the strip works well and gives a sense of energy and the power of the sea. I nice combination of ideas.

Starting to think about what to carve

So now its time to get serious. Thinking about what to carve is a combination of the ideas I have in my head that have been mulling around and developing for a while. Today the one which is surfacing is a development of a wave form combined with a Mobius strip. This type of form enhances the wood with lovely areas of light and shade and a sense of swirling movement. I am thinking about whether to carve it in lime and paint some of the faces to create contrast, or to do it in spalted wood and let the grain come through.

I will have a look at some of the pieces of wood from my wood store!!

Then I can start to develop my initial concept in a more real way………