Beautiful Industry

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Geometry of the Wounded Savior

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This grisaille (grayscale underpainting) of the interaction of Thomas and Jesus and the gathered disciples and their community, has been slowly developing over the past three years, the drawing took about two years before that.  I feel like the end of this particular phase is finally in sight on the distant horizon.  I look forward to seeing the structure fully unfold and ultimately to the beginning the glazing of colors.

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The Flow of Art in Life

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This Dirt Is Older Than I, or Elizabeth Duffy’s Witness

Nigh on two years ago I received an email from Elizabeth Duffy, a writer from Indiana, wanting to ask me a few questions about my art for her blog at Patheos.  She sent questions and I sent back my answers.  It went on for three or four months like that, and trust was built.  In the end she shared our interview in four parts on her blog.  Meanwhile Elizabeth felt the fruit of our dialogue merited a wider audience, and she went in quest.  Image Journal took the bet, and Elizabeth went to work.

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I owe a debt to Elizabeth, but not necessarily for publishing an article about me in a magazine, although, that too is cool, and I expect that the measure of artistic validation it lends me is not insignificant.  It is for her time and her witness that I am grateful, it is for her trustworthiness.  I suspect most artists wonder, like me, if all the labor and turmoil that goes into making art, which purports to have emerged from a deep place in the created heart, is not the dead end of futility that it so often seems to be.  I know at least that it matters to Elizabeth, so much so that she built a soap box and voiced it to as large an audience as she could muster.  More sacred, she proved her trust with those treasures in my heart which I was able to share with her.  That carries weight.  Thank you Elizabeth.  You came along side me and we plowed together.  We even made the cover.

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You can read the article online if you wish, or even buy the whole journal it here.

With genuine authenticity (I know it’s redundant) and authentic hunger, Elizabeth writes for a variety of different outlets, including Image Journal’s blog, Good Letters.   The best place to start and catch most of it, is at her personal blog.

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Fumed White Oak

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The above are eight turned pieces from a single 24″ section of a 24″ diameter white oak from Boaz, Kansas. The tree fell over and across the Van Horn Branch Creek about 10 years ago- We finally pulled the log out 2 years ago, and it has laid in my log pile since then, although I did mill a portion of it. The heart wood is still green, so these bowls were turned green and allowed to warp as they dried. Ultimately all the pieces were exposed to ammonia vapors (fumed) which reacted to the tannins in the wood, darkening the surfaces.

The Champion Table

After about five months the Champion Table is finished and in its new home outside of Chicago.  The woods in this table are Kansas Black Walnut and White Oak (the base uses oak from Kansas, the top uses oak of lesser known origin, beyond my friend, the lumber man), the top features also a small amount of Ebony and sulfur.  The design is original, and evolved throughout the building process.  Central, is a crucifixion theme and the arc.  There are other symbolic elements as well, throughout.  I am deeply grateful to the Champion family for the opportunity to build a significant piece of furniture for their home and living.  I am also humbled and thankful for all the encouragement I have received throughout the building process.  Ultimately I am glad in my heart, laboring to make something that celebrates the goodness of God.

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