Showing posts with label 2nd Term 2015. Show all posts
Showing posts with label 2nd Term 2015. Show all posts
Tuesday, 7 July 2015
Monday, 6 July 2015
Sunday, 5 July 2015
Saturday, 4 July 2015
Anachronism
I can say that by nature I am an anachronist. This definition from here, seems to sum it up.
"An anachronist, on the other hand, is a person who refuses to blindly embrace the fashions and modes of life characteristic of his time. That, he says, would be a temporal prejudice; a more enlightened view would find that the past contains treasures which have been lost to us, but which can–so we hope–be recovered."
I shave with a straight razor, even if Gillette says one blade good five blades better. I investigate cultures and customs from the past. I hold religious beliefs which mankind have held for thousands of years prior to the rise of the Abrahamic traditions. I regularly read archaeology journals. At the core of things I have this idea that possibly this rapid acceleration brought on by the industrial revolution, means we have left some things behind which we should be holding onto. This is not to say I don't appreciate sanitation, modern surgery, freely available coffee supplies and wifi. It just means that I feel sense of loss of something which is possibly intangible.
One of the reasons I am so fascinated with ancient craft techniques is that by learning them, it is possible to, through shared experience, connect in some way with craftsman from the past. In many traditions such as the martial art of the sword, Japanese culture has been able to keep the line of teacher to student unbroken. This is mostly due to their policy of voluntary cultural isolation, eschewing modern things as non Japanese. This unbroken line is what makes learning Japanese metal techniques most attractive to me. Many western traditions have been revived or reverse engineered, we have manuscripts describing sword techniques, woodcuts depicting medieval workshops as well as surviving material evidence which can be studied. However, the act of teaching a student, passing on the knowledge your teacher gave you carries with it thousands of both practical as well as less tangible things such as correct mindset or attitude.
The Japanese government recognise the value in these traditional disciplines and make funding available for small schools to continue. Unfortunately, fewer and fewer people are willing to endure the traditional apprenticeship required to receive not just the physical skills but the mental fortitude the exacting traditions demand. Fortunately, this has allowed a few westerners who have shown such dedication to be allowed to learn and then teach and so continue the line of master to student.
"An anachronist, on the other hand, is a person who refuses to blindly embrace the fashions and modes of life characteristic of his time. That, he says, would be a temporal prejudice; a more enlightened view would find that the past contains treasures which have been lost to us, but which can–so we hope–be recovered."
I shave with a straight razor, even if Gillette says one blade good five blades better. I investigate cultures and customs from the past. I hold religious beliefs which mankind have held for thousands of years prior to the rise of the Abrahamic traditions. I regularly read archaeology journals. At the core of things I have this idea that possibly this rapid acceleration brought on by the industrial revolution, means we have left some things behind which we should be holding onto. This is not to say I don't appreciate sanitation, modern surgery, freely available coffee supplies and wifi. It just means that I feel sense of loss of something which is possibly intangible.
One of the reasons I am so fascinated with ancient craft techniques is that by learning them, it is possible to, through shared experience, connect in some way with craftsman from the past. In many traditions such as the martial art of the sword, Japanese culture has been able to keep the line of teacher to student unbroken. This is mostly due to their policy of voluntary cultural isolation, eschewing modern things as non Japanese. This unbroken line is what makes learning Japanese metal techniques most attractive to me. Many western traditions have been revived or reverse engineered, we have manuscripts describing sword techniques, woodcuts depicting medieval workshops as well as surviving material evidence which can be studied. However, the act of teaching a student, passing on the knowledge your teacher gave you carries with it thousands of both practical as well as less tangible things such as correct mindset or attitude.
The Japanese government recognise the value in these traditional disciplines and make funding available for small schools to continue. Unfortunately, fewer and fewer people are willing to endure the traditional apprenticeship required to receive not just the physical skills but the mental fortitude the exacting traditions demand. Fortunately, this has allowed a few westerners who have shown such dedication to be allowed to learn and then teach and so continue the line of master to student.
Jake Powning
Jake Powning is a Canadian sword maker and wood carver. I have followed his work for several years. His work focusses on keeping ancient techniques and cultural concepts alive.
http://powning.com/jake/about-jake-2/
As a craftsman interested in ancient cultures and techniques, I really enjoy his pieces. He also writes a blog and interacts with people who share his interests.
It is encouraging to find these small pockets of people who are continuing and in some cases reverse engineering traditional techniques. In many cases it is not just a technique people are looking for but a way to share a certain mindset with those who came before.
In Powning's case the mindset is to walk the border between myth and reality, to cast aside modern cynicism and allow oneself to believe in a little magic just as our forebears did. In Jungian terms, the myth and magic are keys to our subconscious mind from whence creativity and art spring.
Something I struggle with in the creative process is to let go of my analytical cynical mind and allow myself to show the more child like, magic believing, dragon fearing side of my nature.
http://powning.com/jake/about-jake-2/
As a craftsman interested in ancient cultures and techniques, I really enjoy his pieces. He also writes a blog and interacts with people who share his interests.
It is encouraging to find these small pockets of people who are continuing and in some cases reverse engineering traditional techniques. In many cases it is not just a technique people are looking for but a way to share a certain mindset with those who came before.
In Powning's case the mindset is to walk the border between myth and reality, to cast aside modern cynicism and allow oneself to believe in a little magic just as our forebears did. In Jungian terms, the myth and magic are keys to our subconscious mind from whence creativity and art spring.
Something I struggle with in the creative process is to let go of my analytical cynical mind and allow myself to show the more child like, magic believing, dragon fearing side of my nature.
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| http://society6.com/jakepowning/prints |
Enzo 97
There is love in your body but you can't hold it in
It pours from your eyes and spills from your skin
Tenderest touch leaves the darkest of marks
And the kindest of kisses break the hardest of hearts
Florence and the machine
Wednesday, 1 July 2015
Tuesday, 30 June 2015
Monday, 29 June 2015
Sunday, 28 June 2015
Angloplat competition part 2
There is a plant with a little white flower in my garden which I thought was perfect for this project.
After shaping the ring, I tried to grind the top cavity for the inlay with a ball burr on the pendant motor. Two ball burrs later, I realised that actually chisels are the right tool for the job.
I set up the ring in my pitch bowl and started carving the cavity, about 1mm deep. I undercut the side walls and sanded the small metal burrs off in preparation for the platinum.
Using masking tape and a pencil, I marked the size and shape of the cavity, sticking it onto a piece of platinum I had rolled to 1.3mm thick. I cut out the shape and carved a small recess into the back of the platinum to increase the surface area so when I hammer it down it spreads further into the undercut.
Next up was drawing the flower and stem, carving the background away and using a punch to flatten and texture it.
Carving the petals and stem to a formed and bright finish.
Lastly, I shaped little scallops into the damascus rim and finish sanded it to 800.
I used ferric chloride to etch the damascus to show it's patterned nature. The ferric chloride has no effect on the platinum.
My thanks to Dewet Vanzyl for providing me with the damascus and Tiaan Burger for technical information during the process, as well as Angloplat for providing the platinum and the platform.
The final product:
After shaping the ring, I tried to grind the top cavity for the inlay with a ball burr on the pendant motor. Two ball burrs later, I realised that actually chisels are the right tool for the job.
I set up the ring in my pitch bowl and started carving the cavity, about 1mm deep. I undercut the side walls and sanded the small metal burrs off in preparation for the platinum.
Using masking tape and a pencil, I marked the size and shape of the cavity, sticking it onto a piece of platinum I had rolled to 1.3mm thick. I cut out the shape and carved a small recess into the back of the platinum to increase the surface area so when I hammer it down it spreads further into the undercut.
Next up was drawing the flower and stem, carving the background away and using a punch to flatten and texture it.
Carving the petals and stem to a formed and bright finish.
I used ferric chloride to etch the damascus to show it's patterned nature. The ferric chloride has no effect on the platinum.
My thanks to Dewet Vanzyl for providing me with the damascus and Tiaan Burger for technical information during the process, as well as Angloplat for providing the platinum and the platform.
The final product:
Angloplat competition 2015 part one
The Angloplat competition this year focussed on Indian themed wedding jewellery. I found this quite inspiring as I know the traditional techniques used in Indian jewellery are similar to Japanese techniques. In India they used a process called chip carving, leaving bright cuts with a small hammer and chisel.
Being raised in Durban, I am no stranger to Indian culture and motifs. Looking to the rich textile designs in shop displays around Gateway where I work was a good place to start.
Focussing on the Paisley pattern on this dress, I saw a good opportunity to showcase some carving.
As the pattern features the natural element of a flower, it ties in well with the natural motifs used in Japanese metal artwork.
In order to inlay, you need a soft, malleable material such as platinum and generally a harder metal to lay the softer metal into. I had a piece of Damascus steel waiting for the right job and this was it. India has used a similar steel called Wootz steel and weapons have been inlayed with gold patterns for centuries.
First, I had to carve the ring from the block of damascus. This was done with a drill press, saw and files.
I decided to carry the paisley shape all the way through the ring so the top and bottom would be the same shape.
Being raised in Durban, I am no stranger to Indian culture and motifs. Looking to the rich textile designs in shop displays around Gateway where I work was a good place to start.
Focussing on the Paisley pattern on this dress, I saw a good opportunity to showcase some carving.
As the pattern features the natural element of a flower, it ties in well with the natural motifs used in Japanese metal artwork.
In order to inlay, you need a soft, malleable material such as platinum and generally a harder metal to lay the softer metal into. I had a piece of Damascus steel waiting for the right job and this was it. India has used a similar steel called Wootz steel and weapons have been inlayed with gold patterns for centuries.
First, I had to carve the ring from the block of damascus. This was done with a drill press, saw and files.
Saturday, 27 June 2015
Enzo 92
Not knowing
it's a tub they're in
The fish cooling at the gate
Issa
This seemed to me to wonderfully encapsulate the human condition.
Friday, 26 June 2015
Wednesday, 24 June 2015
Enzo 89
Children imitating cormorants
are even more wonderful
than cormorants.
Translated by Robert Hass
by Kobayashi Issa
Tuesday, 23 June 2015
Figure drawing is hard
Thought I'd try some sumi style figure drawing, clearly that needs more practice.
Monday, 22 June 2015
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