A little philanthropy

Tis the season for benefits, and over the next couple of weeks there are two with which I have the pleasure of being involved in small ways.

First up is the 2nd annual American Foundation for Suicide Prevention (AFSP) fundraiser. This year's fundraiser, which includes a silent art auction, takes place at  Dixie Quick's/RNG Gallery next Thursday, May 13 from 5:30pm - 8:30pm. I don't know a lot about the AFSP, and I don't have any real connection with them; what I do know is that they do some difficult work with people who have some serious problems. So donating the quilted walnut mosaic side table (viewable to your immediate left and right) is the least I can do to lend a hand. Details, tickets, etc. can be found on the AFSP website.


The second, a $100 Art Sale Fundraiser at - and for the benefit of - the Bemis Underground, takes place May 21 (and 22, though I doubt much will be left by then). The title says it all. Lots of art all priced at $100. This might sound familiar, as Brigitte McQueen, the newish curator of the Bemis Underground, hosted a similar and successful $100 sale at her former Pulp gallery. I didn't make it to that sale for fear of a thick crowd. My disdain for large crowds will likely make me a no-show for this show, but I am donating this small paduak and cherry side table (to the right and left), which is part of my ongoing series of mosaic patterned pieces. Yeah, it's kinda small, but hey, it's only $100 bucks and it is a working table, so there you go.

I've worked with and for a number of not-for-profit organizations over the past several years. I have a pretty good understanding of their importance to a community and the difficulty of raising money and resources to keep their programs afloat and staffs paid. The Bemis Center particularly has played a major role in providing me with opportunities to develop and take chances as an artist and designer.

My $.2 for both events: go, and go early. We may still be in a recession, but $100 art is still $100 art. I would say, "See you there," but... you know... the crowds and all. Similarly, silent auctions are usually opportunities to get deals. And there will be Dixie Quick's food there. And drinks. So... see you there.

Works in Progress

Here's a sneak-peek of a work-in-progress, non-furniture piece I'm working on in my spare time. Like several of the smaller tables I've been making over the last 6 months or so, this piece works on a 30/60-degree angle star pattern. People regularly assume these pieces are created using an inlay. However, inlay (as either marquetry or parquetry) involves placing a pattern or image on top of an underlayment or other structural surface; whereas this piece is solidly handcrafted using 1,000 - 1,500 individual pieces.

It's about 40" square and though you probably can't tell from the photo, the thickness of the individual pieces range from about 1/2" to 1". The woods used to make the angular stripes are cherry and walnut. The colored stars are made of canary wood, blood wood and redheart.

Eventually, the piece will be sanded so that the surface smoothly follows the contour of the individual pieces. When completed, both pieces will be wall-mounted. Before sanding and finishing this piece, I'm going to make a plaster cast that will become a second piece. I still have to figure out how to do that. If I try to pour plaster directly on the wood, the water in the plaster will soak into the wood fibers and ruin the whole piece. Plaster will also stick like glue to a piece with as much texture as this. The plaster casting process will likely involve a combination of rubber and plaster molding. If you have any suggestions, I'd certainly consider them...

These other pieces are a couple examples of smaller fabrications that I've made mostly from the scraps from the above piece and some of earlier star tables. These pieces are also meant to be wall-mounted. The evolution of these pieces will be to make more sculptural, 3-dimensional objects in which these pieces are sort of like walls. But that'll probably be a while.

Vinyl Lives! Jason's LP cabinet finished

I started a fancy two-tiered combination record cabinet and turntable holder for my client, Jason, a few weeks ago. I was thrilled to deliver it completed, along with a little bonus LP, earlier this week. Since I'm an avid record collector, I had a blast making this cabinet and hope I get a chance to make some others similar to this one. Maybe I'll even have time one day to make one for myself.

From my original design, I couldn't resist making a couple changes and embellishments. First, I traded out the proposed paper strap door pulls and handles for a set I hand-turned from canarywood. They're likely to last a little longer, especially since they'll be in arms reach of an adventurous 2-year-old. I also inlayed a single star pattern in the top of the lid that's similar to the tables and other pieces I've been making recently.

The project also created several challenges for me; namely the compound angles I had to cut and join to create the top. I also learned that next time I make something like this, I should try to make the top a little lighter (it's kind of a beast).

Each tier of the cabinet holds around 75 - 100 12-inch LPs, which should be plenty of space for Jason to expand his collection.

Staying Grounded

Fridays have become one of my favorite days lately. No, not because it's the end of the traditional work week (there is no end to my work week); but because I get to spend Friday afternoons assisting another artist, sculptor Littleton Alston.

I was previously Littleton's assistant from 2003 - 2008, helping him with a number of tasks that ran the gammit from mold-making, waxwork, helping pour bronze(!), welding armatures and sweeping the floor. For instance, I spent Saturday morning finishing a some beautiful paduak bases I made for some of his stainless steel sculptures.

Working with Littleton in the past and now again taught me all kinds of technical skills and has equally influenced my work ethic and aesthetic. I wouldn't have had the discipline or desire to start Measure Cut Cut Studio without Littleton's influence, advice and help. In essence, Littleton has been one of my most important mentors, inside and out of the studio.

Fridays give me a chance to escape my own studio for a while to concentrate on helping someone else accomplish their aesthetic vision while making a few bucks along the way. It's also a great way to reflect on my own process and vision and gain insight and criticism from someone I greatly respect. Working a few hours a week for Littleton is also a constant reminder of where I started my own artistic journey several years ago, and where I'd like to be several years from now. In essence, working on someone else's art helps keep me grounded, focused and, as Anthony Bourdain says, "hungry for more."

Coming up: Jason's LP cabinet is finished; more of those star things are on their way; early preparation for the Bemis Center auction; and an extra cool conversation with Rick Waters of the Sawdust Chronicles!