My wooden crane sculpture is ready to be cast in bronze at Berkeley’s Artworks Foundry

I spent the past two days at Artworks Foundry putting final touches on my crane sculpture for our Tsuru project. After permanently connecting the 9′ wingspan to the 8′ body, I focused on patching seams, shaping final contours and finessing surface textures. Coating the entire surface with flat grey metal primer helped reveal any inconsistencies, the primer doubling as a leveling agent on the sculpture’s raised grain. A light sanding over the entire surface softened remaining sharp cuts, burnishing high spots in anticipation of the sculpture’s patina in bronze. I’m especially pleased at how the finished form reads as a clear, clean silhouette from a distance, but reveals more primitive hand-tooling upon closer scrutiny.

Tagged: artworks foundry, deep craft, public art, scott Constable, sculpture, tsuru, woodworking, wowhaus

A section of the texture I’ve been carving into my crane sculpture.

I’ve learned a lot from studying sand patterns at the beach over the past few months. I’m always astounded at how such beautiful formations result from the erosive interactions of just a handful of elements- the density of different sands, slope of the beach grade, the continual play of surf and drying effect of sunshine.

I try to apply these lessons as I texture the fared contours of my wooden crane sculpture for our Tsuru project, cutting parallel channels that follow the arc of the grain over compound curves. The process takes concentration but is easy going with my very sharp 1.5″ Japanese gouge. When the wooden form is finally cast in bronze, the ridges of my chisel marks will be slightly highlighted with burnishing and their line patterns will recall the feathers of a large soaring bird while remaining true to the inherent tautness of the mother material.

Beauty becomes intrinsic to a thing only when its pursuit is incidental to the process.

Beauty becomes intrinsic to a thing only when its pursuit is incidental to the process.

Tagged: aesthetics, craft philosophy, deep craft, public art, scott Constable, sonoma coast, wowhaus

I still refer to my original model of Tsuru as the full scale version nears completion. (photo by John Whalen)

I’ve been shaping the final contours of my wooden crane sculpture for our Tsuru project in Denver. It’s been an arduous but satisfying exercise carving a form in wood at this scale, mostly because the form progresses so slowly working primarily with hand tools. I’ve learned that I need to keep focused on a particular, formal strategy for the shape to emerge naturally, which has required serious mental and physical discipline. The whole process has been a kind of duration meditation. My strategy has been to begin with the joint, the intersection where the wings cross the torso and get the ‘core’ to make sense, then articulate the edges, then interpolate the surface contours connecting the core with the extremities. Over the next few days I will smooth the entire surface and begin to experiment with surface patterns and textures. Once the wooden form is complete it will be delivered to Artworks Foundry to be cast in bronze.

The near complete bird has about a 9′ wingspan

My arsenal of hand tools for carving the crane.

To learn more about the development of our Tsuru project, please click here.

Tagged: deep craft, public art, scott Constable, sculpture, tsuru, woodworking, wowhaus

My 9′ wooden crane sculpture shapes up in the studio.

One of the reasons I opted to carve the giant crane for our Tsuru Project in wood is that I get truer contours when shaping grain; there’s a dialogue between the material and the form and the shape just emerges as I slowly shave away material, working from the center outwards to the creature’s extremities. I can rely on the inner logic of the strategically stacked grain of my laminations, like a graduated volume, to know when I have surfaces just right. It’s a much slower process than working in foam, but somehow leads to a truer, more plausible form.

Here are a few other reasons I opt for carving wood in my sculpture projects:

• Waste is non-toxic and can be composted or burned to heat the studio

• It’s a great workout and I get to use my favorite hand tools- drawknives, spokeshaves, gouges, planes and adzes.

• The simplicity of repetitive handwork gives me time to think, relax and focus.

To learn more about the development of Tsuru, please click here and scroll down.

Tagged: carving, deep craft, public art, scott Constable, sculpture, tsuru, woodworking, wowhaus

short-tailed albatross skull, found at Doran Beach

One of the delights of daily beach-combing is how the tides always seem to churn up something new to suit the mood, especially after a storm surge. The other day I discovered the decomposing carcass of a large sea bird I did not recognize. I removed the skull and took it home, macerated it in water, and after scrubbing it clean with a toothbrush was able to identify it as an short-tailed albatross, a species I did not know migrated over Bodega Bay. I’ve been thinking a lot about migratory birds as I sculpt a large whooping crane for our Tsuru Project, and this latest discovery reminded me how vulnerable these creatures can be to the perils of migration.

I’m adding the skull to my Tsuru-related research archive, a visual database I’m building of forms and images relating to my crane sculpture.  As the global population of whooping cranes hovers at around 250, it’s difficult to see them first hand, so my sculpture will be a hybridized interpretation of cranes and their metaphoric associations. One of my favorite references is a book called Cranes of the World I found recently at an antiquarian bookstore. Published by Winchester Press, the book was written by the dentist and amateur birdwatcher Lawrence Walkinshaw in 1973, when the population of whooping cranes was thought to be around 50. The book is chock full of Mr Walkinshaw’s photographs from his travels around the world on birding vacations with his family.

sandhill cranes, photo by Lawrence Walkinshaw (Cranes of the World, 1973)

whooping cranes, photo by Lawrence Walkinshaw (Cranes of the World, 1973)

Tagged: albatross, birding, deep craft, public art, scott Constable, whooping cranes, wowhaus

The crane, roughed-out in layers of basswood, almost ready for shaping

I’ve been laminating layers of basswood to shape into a large crane sculpture, to be cast in bronze as the feature of our Tsuru Project in Denver. With a specific gravity of 0.32 and non-directional, knot-free grain, the wood is lightweight, stable, and carves easily, making it the perfect material to shape into a stylized bird at this scale. Of equal significance to me, basswood comes from the linden tree, a species that thrives in regions where crane historically migrate.

I always like to find congruence between the forms I make and their material origin, however oblique or obscure. Since pre-Christian times, the tree was thought to have divine, healing powers throughout Northern European cultures, and its wood has since been carved and painted into panels and alters for religious iconography. In late spring, the linden tree produces a blossom that famously attracts honeybees, who make a distinctive monofloral honey with the nectar. The tree has always been associated with love, and is the subject of countless romantic poems:

Under the Tilia Tree

On the open field,
where we two had our bed,
you still can see
lovely both
broken flowers and grass.

On the edge of the woods in a vale,
tandaradei,
sweetly sang the nightingale.

Walther von der Vogelweide (c. 1170–c. 1230)

Tagged: aesthetics, craft philosophy, deep craft, public art, scott Constable, tsuru, wowhaus

the great white egret flock in the marshes around Bodega Harbor as they migrate south

The Dungeness crab season officially opened in Bodega Bay over the past weekend and the beaches have been teeming with life just after dawn- fishing boats on the bay, surfers on the south swell, pelicans skimming cresting waves, geese wedging overhead, sanderling and dowitcher combing the shoreline, suddenly strewn with bull kelp and crab carcasses. Ene and I typically walk a stretch of Doran Beach each morning with our dogs as the sun comes up, so we’ve developed a good feel for the patterns of migration, tides and seasonal shifts, most of our weather originating offshore.

Lately I’ve been drawn to the marshes around Bodega Harbor, where the great white egret takes seasonal shelter on the journey south. The birds typically cluster in large groups at the harbor’s shallow edge, where bulrush protects against wind and wave. Just as the sun rises over the hills to the east, the egret take flight in small groups and circle back, drying their wings and warming up in the sun, sometimes landing remotely to forage for breakfast. It’s a great place to study how these elegant birds move in flight; they take off, climb to soaring height and land within about 30 seconds, and the process takes about an hour, when the flock begins to disperse for a more substantial meal.

I’m preparing to carve a slightly larger-than-life sculpture of a whooping crane for our Tsuru project in Denver, and have been enjoying my morning field research before committing to a final form in wood. My sculpture will combine additive and subtractive techniques. I’ll laminate layers of basswood to approximate the shape of a soaring crane, then carve the form with chisels, rasps, adzes and draw-knives, probably adding a final layer in clay for texture. The wooden form will eventually be cast in bronze and, measuring about 8’ x 9’, will need to break down to transport to the foundry, so I’ll engineer a joint to allow for the wings to be separated from the outstretched body.

Tagged: california coast, california flora, deep craft, egret, public art, sculpture, sonoma coast, tsuru, wowhaus