Remember the pear I carved for the theatre company a few months ago? That garnered a surprising amount of attention and requests from others for more carved pears. It appears that pears are a favourite among many of you!
I call it a wormy pear because the wood (mahogany) is from a log that has been eaten through and through by the tiniest of worms. The holes they left in the wood are black around the edges. It reminds me of the pear tree that grew outside my bedroom window when I was growing up. It had the most delicious pears in the world – I’ve never had another pear that was nearly as good – but they were rough on the outside and often had worms, so eating them required paring with a knife (see what I did there?).
This one is carved in mahogany and finished with linseed oil and beeswax. It is approximately 7 inches tall.
My own response to her concern is related to the title I’ve given my sculpture. I believe we in North America live in a very narcissistic age where our biggest issue is whether our selfies (cell phone pictures of ourselves) capture our best side. Learning to listen, bending to hear, lending an ear to someone or something else becomes difficult when we’re most concerned about our own image.
Carving fruit is an old tradition. I don’t mean cutting up watermelon or an apple to munch on. I mean carving wood to look like fruit. People have been doing it for centuries, even millennia! Fruity carving is another thing altogether that I am not getting into…
I was contacted last week by the director of an upcoming theatre production who asked if I could carve a prop for a play called The Woodcarver. She needed a pear to be used in the play. I have carved fruit in high relief and low relief, but never in-the-round, so this would be a learning project for me too.
I grabbed a board that was three and a half inches square and quite long, and lopped a piece off with my saw. I cut it a bit longer than necessary so as to leave enough to hold in the vise as per the picture below. Then I ran off to the Central Fraser Valley Woodcarvers club meeting on Wednesday night and started by roughing it out with my largest gouges.
I made quite the mess in the couple of hours that the club met but had some fun discussing whether or not I was making those dangly-bits of bulls you see swinging from the bumpers of over-sized pick-up trucks in Abbotsford (but not in classy Langley). Several members wondered why I wasn’t making this on a lathe. A lathe can only make things perfectly round and there aren’t any perfectly round pears out there in the wild. I wanted a little more artistic license than that.
After a few back-and-forths by email with the client, I was able to confirm the appropriate size and smoothness of the carving.
After sanding the pear and shaping the stem, I gave it a light coating of oil to bring out the natural colour and grain of the wood. This went so well I will definitely carve more.
If you want some wood carved fruit, feel free to contact me about options for something unique to you. In the meantime, I hear my wife asking if her fruit is finished yet. Back to the carving bench I go!
Each year, I carve a figure from the Christian nativity scene for a family member. Last year it was Mary, the mother of Jesus. This year it was Joseph.
I had a lovely piece of mahogany given to me by a client and friend, which was straight grained, relatively soft and of a warm reddish-brown colour. I cut out the basic shape on my band saw and went to work with the carving gouges. Joseph is intended to be a figurative sculpture, hence there is little detail. The idea is that you can see yourself in him and imagine what it would have been like to be at the birth of Jesus in that manger in Bethlehem. Joseph’s body language is a mixture of awe and pride, welcoming you to the scene and showing off the baby.
Joseph is approximately 6 inches tall, and is finished with a blend of linseed oil and beeswax.
This sculpture captures the history and the future of horses in the area in which it was carved. It is sculpted out of an old material (wood), remade into something new with the most modern technology (parallam), all supported by a strong base that isn’t interested in stealing any of the limelight. It represents the nature of horses in the Langley region. Originally used as working animals in the lumber, ranching and farming industries, they have been repurposed for the modern industries of equestrian therapeutic riding for the disabled and people with special needs, as well as the competitive world of show horses, with hunter jumper, vaulting, western and English shows. Both industries demonstrate the future of horses in Langley. And the material is a mess of torn up strips of wood fibres pressed and conformed into a controlled product. The sculpture captures the wildness and the structure of the modern horse.
This sculpture is for sale. It is 23″ tall by 21″ wide on a base of steel custom made by my friend Steve Bennett.
i have completed the carving stage of the horse head sculpture. This included a few last minute adjustments to the eyes, mouth and mane. Then I determined the way it would stand before cutting the base of the neck at the proper angle.
The next steps are to put a finish on it and make a stand. Does anyone know where I can find some plate steel, something at least 1/4″ thick onto which I can weld a post?
Thank you to my lovely daughter Miriah for the photos.
The horse mane carving has gone well, although I did find it challenging to work in wood where little bits just randomly spring off and fall out under the v-gouge. This happens when certain strips of wood in the parallam beam did not receive enough glue. It’s not really a problem. It means I adjust the carving slightly. I finished the mane tonight. At this point I will set the carving as it will stand and make sure the entire sculpture looks right. I’ll probably stare at it, turn it around and around, nip off bits here and there. I’ll sand it and sand it some more until I’m finally satisfied. Only then will I put the finishing coats on.