Frequently Asked Questions
What are these objects made of?
Mostly wood, some aluminum, some copper, some leather, some cloth, some paper. Processed with dyes, stains, paint, resins, shellac, varnish, oil, lacquer, though rarely all on one piece.
What are they?
They have a passing resemblance to trays. That implies a utility that I don’t confirm or deny. I ultimately make them to be displayed. I make them as isolated objects, and my expectations for their display tend to run in that direction. I would suggest that my surface treatment might preclude their use as containers, even though their construction heritage certainly owes something to utility. So, they are objects that are what they are.
Is that inlay, or intarsia, or marquetry?
It’s none of the above. The flat surface of the object is one contiguous piece of wood. It’s surface is physically scored, and then stained, dyed…(see above first question and answer). This is the most asked question, and no matter how diplomatically I answer it, I sound dismissive of very exacting and difficult disciplines. Applied piecework just isn’t appropriate for my needs. My surfaces take a beating, particularly after the surface is scored, and inlay/intarsia/marquetry would be restrictive and fragile for what follows in my work methods. I’m just not that sure where any particular object is going to go during work, and to make the visual commitment involved in those disciplines would “seal”the deal before I got rolling.
Do you make each one by hand and/or tool?
Yes. In its entirety…. (I don’t make the copper tacks or the metal rivets... and don’t want to)
How long does it take to make one?
Every object is different (in many ways). However, most objects usually succumb to the pressure within three ~ four weeks. These objects are the result of multiple workings and reworkings (it’s not uncommon for a piece to be reworked after many months or years in the studio), and are usually made in small groups, mostly in service to the finishing routine.
Where is Milton, Georgia?
North of Alpharetta, which is north of Roswell, which is north of Atlanta. All are north of the gulf of mexico.
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No one has asked me the following questions....but should have. When I first started making these objects there was much discussion about my “joinery” method, which is commonly referred to as the swallowtail joint. It has no particular merit, and is really just a finger joint with style.
Are you a shaker?
No. Are you? If you are, I’ve got a few questions for you. And one confession: I borrowed your joinery method.
Are you putting shakers out of work?
I’m betting not. As of this writing, there are only two card-carrying members left (Sister Frances Carr died in early 2017). I’m also betting that no self-respecting shaker would make these objects. The shakers, to their credit, were steadfast producers of objects of utility, with mostly spectacular results. I, on the other hand, make objects to be watched, and sometimes touched, with very little concern for utility.
Process
These objects are made using wood, metals, cloth, paper, resins, paint, dyes, glazes, and varnish. Most objects contain most. There are two distinct parts that are combined at the end of the making process. The flat piece is worked by physically scoring the surface, establishing a general armature for further work with surface colorants and textures (listed above). Ultimately, the bent component is fit to the flat component, secured, and finished.
Notes on care:
Because these objects are ultimately made of wood, etc. they are subject to constraints in their presentation and care. Some general suggestions are to avoid moisture and direct sunlight. Exposure to periods of either will adversely affect their permanence and condition. If an object does come in contact with water, a quick wipe with a soft cloth should suffice (my general advice is to treat an object like you treat your dining room table (if made of wood)). Each object has a furniture grade finish on it, but that doesn’t make it waterproof or uv protected, only water resistant and uv resistant. Exposure to direct sunlight has more lasting effects in that there may be some fading (fading occurs in almost every object involving pigments, but why hasten the process?) and, more dire, may encourage undue movement of the wood, sometimes leading to warping of the base. Exaggerated swings of temperature/humidity can also lead to warping. Don’t add any further treatments (oils, waxes, etc.), this will change the surface and more than likely be incompatible with my finish.