I intertwine many different mediums and processes in each piece of my art work bring them to life. All of my work is based on life experiences, envisioned before I start. It evolves and changes as I work. The average on hands time span is no less than 6 months to a year depending on the complexity-medium and some pieces can expand over a period of years.

WOOD CARVING AND STONE: MARBLE-TRAVERTINE-SANDSTONE

1.       Choosing the right kind of wood or stone for each piece is the base for success.

A.      Cedar is best for pieces to be displayed outside for durability.  Arrowhead downfall aspen is appropriate for carving faces and small detailed pieces, my first choice.  Walnut is harder but a great relief contrast to a main carving. Butternut is my favorite for many reasons. It is often called “A poor man’s walnut”. The grain is amazing and softer to carve than walnut. A blight has all but made it an endangered species. Spalted Maple is highly prized for its dark intricate streaks and dramatic contrasts.  It also ranges from $15-$20 dollars a board foot. I often combine woods in the same piece for contrast and depth. Oak and cherry are beautiful and challenging.

B.      Stone has grain much like wood. Large blocks of stone leave little forgiveness for mistakes. Marble will split off easily if not chosen well. The stone will also bruise if chiseled within an inch of the desired finished. Shaving in layers is advisable. Grinder and dremel tools work well for sanding, shaping and fine details. Finishing work is achieved by sanding. Sandstone, marble, travertine, and granite ½”slabs are good for carving. Travertine and marble can fracture easily.

C.      Clay or wax maquetts for bronzing and lost wax procedures are advised.

GUILDING- GOLD LEAF-EPOXY:

1.       I use gold leaf and epoxy for enhancement in most of my pieces. I often carve my own frames as an intricate part of the art work. This creates great asymmetrical balance as well as moving water, and detail such as eyes, noses, and claws. Used in repainted-detail layers it creates depth, drawing the viewer in.

2.       PROCESS-GOLD LEAF:

A.      Prepare the surface creating a smooth base.

B.      Apply the adhesive- 30 to 60 minutes or until tacky.

C.      Apply thin gold leaf sheets, brushing softly or cover with a thin layer paper and rub with a smooth stone until desired effect. Mongoose brush recommended. If not tacky, breathe directly on the gold and repeat.

D.      Seal to protect from tarnishing

E.       Oil paint, pen detail or stain over the dried seal, reseal.

EPOXY PROCESS:

1.        Prepare the surface: sand, wash down with 99% alcohol, and fill any cracks for leeks.

2.       Re-sand and clean, use the compressor.

3.       Mix the epoxy as directed. Deep pour resin is a different ratio, two to one, and regular epoxy is one to one. It is important to mix the combination for 3 minutes or a temp of 72*-85*, depending on the time needed for working. Hardener, B, is poured first. Changing containers is advisable for a good pour.   

4.       First apply a thin coat as a primer. Pour and spread epoxy evenly with a brush, notched squeegee, or velvet roller.

5.       Let cure for 72 hours or longer if in an area lower than 72*.

6.       Avoid bubbles with a heat gun, 99% alcohol, and or blow torch. 

7.       Blue tape is a good stopper for edges. Remove after 2 hours or so and scrape with a trowel.

8.       Sand and clean between coats. For a matt finish sand up to 400 grit.

OIL PAINT PROCESS:

1.       I have chosen to use some of Rembrandt’s techniques in my oil paintings as well as carvings. Most of my oils are portraits of family or spiritually inspired subjects.

2.       I use linseed oil for water, eyes and hair. Mongoose soft brushes as well as fan brushes and palette knives are excellent use for depth, texture, and focus areas. Glazing creates luminosity. I work from dark to light, vice-versa. Terra cotta or green mono-chromatics I use for primary schematic sketches.  {I work mostly from my own photos.}

3.       I let this dry and apply the first varnish layer. I let this dry.

4.       I build these up layer over layer, glazing-drying, in between each layer give the painting depth and life.

5.       I build up my layers with opaque layering in light areas on top.

6.       Lind-seed oil reveals thin undertones as well as hair wave highlights and moving water.

7.       It usually takes 10 or more layers to achieve the desired result.

8.       I have become more impressionist over time. Oils are used in differently in most pieces.

STAINING-GLAZING-VARNISHING PROCESSING:

1.       I use similar techniques for all of my work from oils to sculptures. I have made most of them up as I go. Van Dyke Brown mixed with Terra cotta or Indigo blues are always my first choice for schematic monochromatic sketches or final staining. Depending on the translucency or movement needed, I use linseed oil. Final depth staining is brushed or wiped on and off with a soft cloth.

2.       A final coat of varnish or epoxy is applied to prevent tarnishing and define the darks more vividly. Pratt and Lambert or Diamond Coat Epoxy are the best.