Today my work will be featured on a segment of a television show called “Artful”, produced by Monument tv. It will air at 8 am MST and then again at 1 pm on the BYU tv channel, and then it will be available for streaming after that on the BYU TV website. While I haven’t yet seen it myself, the other episodes are beautifully and sensitively done, and my experience with the production team was truly delightful and meaningful. I hope that you will have a chance to take a look.
Go On, Brother Lawrence is a small wood engraving, carved and printed by hand from a boxwood block. Brother Lawrence (born Nicolas Herman) was a 17th century Discalced (barefoot) Carmelite monk. I will fall short to try to describe him in a brief statement, rather, I encourage you to read the small collection of his letters and conversations, Practicing the Presence of God. He has been a significant influence in my faith and work since I first encountered him in art school, over two decades ago. Brother Lawrence sought out the presence of God at all times and in all things, notably, in his daily labor as a cook and dishwasher and later as a repairer of sandals- the subject of this print- and in so many ways he became the present Christ to very many who came into contact with him.
If you would like to purchase one of these prints they are available in my store, Baumwerkshop.
This is a progress update of a painting that I began last year illustrating one of the visions of the old testament prophet, Zechariah. After making a complete grayscale (grisaille) in egg tempera, I have been doing a base color layer in egg tempera with a limited palette, of two earth tones, with a red, yellow, blue, black and white. The final layers of the painting will employ translucent oil glazes.
Christogram in black walnut as the central panel in a pulpit that my friend Taylor Johnson is building.
The Stone Hefter is a small (3″ x 5″) wood engraving that I first carved and printed in 2020. I think it must have struck a chord with people dealing with the weight of the pandemic and the resulting economic and cultural fallout. The first edition of 40 prints sold out rather quickly (for me) so I have printed a second edition on cream paper (the first was on white). It is available to purchase here.
The following is a sheet I typed up concerning the symbolism and some of the personal meaning of the piece.
When I learned of the passing of my cousin this week, this song became a prayer and requiem. I had already thought of the title, “A Man Walks Into a Clearing” and it seemed right for one who had lived such a life as my cousin, Clayton. I recorded an iPhone video of myself playing it for my Aunt.
I wanted to share a series of images showing the process of the making of an underpainting which I have been working on for the past few months. The image itself is an illustration of a vision of the biblical prophet Zechariah laid out in chapters 3 and 4 of the book of Zechariah in the Old Testament. It is a beautiful story of God’s grace and restoration, rich in symbolism and images. It is not very long and is certainly worth reading.
This grisaille is done in egg tempera on an oak panel, built from an oak that came down on my father’s farm in Greenwood county, was subsequently milled (quarter sawn) and air dried for 10 years. The panel has been cradled with walnut and ash to help keep it flat over time. The surface is a traditional gesso as describe out by the 14th century Florentine Cennino Cennini in his Il libro dell’arte. Once the grisaille is complete, I will start to paint layers of translucent colored oil glazes, hopefully to beautiful effect.
Hummingbird Spoon in Cherry
This spoon was carved on commission to be given as a gift to a Kansas poet and photographer, Michelle Terry.
Amos’ Spoon in Osage Orange
I carved this humble eating spoon for my friend Seth Wieck, a poet in Amarillo, Texas, in reference to his epic poem, Ulysses Arrives in Amarillo.
The Lawrence Arts Center, in Lawrence, Kansas, recently had an exhibition featuring work from across the rich artistic career of my Aunt, Chris Wolf Edmonds. There are many creative people in my Aunt’s immediate family: her father (my grandfather), her children, Jason Edmonds and Brynn Edmonds Burns, all of them making beautiful art. The happy idea surfaced that it might be interesting to include some work from my Aunts creative family. They even reached back to her great grandfather (my great great grandfather) Johann Severin Kiemig, who filled his farmhouse in Zenda, Kansas with murals and paintings. They graciously invited me to participate. I am very grateful for this, for I respect my Aunt and my cousins very much, and my grandfather was a profoundly important figure in my life. Often, I contemplate the creative legacy that flows through my family, the generations who celebrated making things with hands, and placed a high priority on light, color and beauty. That benefaction shaped me and continues to do so. It is incredibly meaningful to be a part of an exhibition that celebrates that legacy and especially honors the one who has worked so hard and gracefully in her carrying it forward.
Deeply principled, generous and compassionate, my Aunt Chris always seems to know exactly who she is. Nurturing a deep love and kinship to the land, specifically Kansas, she has taken a path in life that I seek to emulate: a multi-disciplinary agrarian artist/craftsperson, manifesting excellence in craft, remembering tradition while pushing her own creative boundaries, and constantly evolving and growing as an artist and human within a flowering context of family and community. I know that she is a treasure. I am grateful to be part of her legacy.
As you look through the images from the show, you will see the quilted and fiber based art of my Aunt, carved wooden birds from my grandfather, wooden sculptures of my cousin Jason, photographs from my cousin Brynn, and paintings and prints from me. Unfortunately I wasn’t able to make it up to see the exhibition, and I don’t have titles to provide for all of the works at this point, so I apologize for not providing more detailed captions.
All of these photographs were provided by, and used by permission of the Lawrence Arts Center.