Jo Burton Sculptor and teacher of woodcarving
Exhibiting at Castle Park Arts Centre, Frodsham, WA6 6SE : 8.11.24 – 21.12.24
I have been carving new pieces for Wirral Open Studio Tour and the Exhibition at the Oakmere Art Gallery. This piece is called ‘Embrace’ and it is about the feelings created by receiving a big hug. I carved it from Spalted Beech and wanted to emphasise the lovely grain of the wood.
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.
‘Ocean Wave’ 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.
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.
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?
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.
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.
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.
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.
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.
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.