Musical Interjection - "The Carnival is Over" by Dead Can Dance

I discovered recently that someone had posted this video, to perhaps one of my most favorite songs ever by one of my most favorite groups ever. Dead Can Dance is made up of Brendan Perry and Lisa Gerrard. I discovered them in the mid-80s when I heard their vocals in the musical collective known as This Mortal Coil, with which Cocteau Twins were also involved. Haunting music, it hits me in that introverted soul-searching sort of way.

Helpful Hint: Using Square Tiles on a Round Table Mosaic

In doing mosaic tables over the years, whether they be small side tables or a kitchen dining table for two or three, my main objective was to maintain as much of the integrity of the vintage tiles I was using. Of course color coordination and pattern were important, and I made sure the design I came up with 'felt right,' but i wanted to keep as many of the old tiles whole as possible, even when the table base was round.

These are all tables that I have made in the past. In each case working with these antique wrought iron bases, the top of the frame would have a lip that I cut plywood for, enough to sit just inside that lip, inserting screws from below which where drilled into either the metal lip or the crisscross metal supports.

On the plywood I drew in pencil crisscrossing diameter lines and mark the center where they crossed; this is my starting point. I then worked my way outward until I could no longer fit a whole tile into the remaining space, and either cut that tile down to have as close to a whole tile as possible, or just take a hammer (and protective eye wear) and break up the tiles into smaller pieces in order to arrange them into the remaining spaces.

When the finished design is grouted (I'll do a tutorial on tiling down the road), what I always enjoy seeing is that when you are able to join the corners of four tiles, what you immediately notice is that the intended design extends way beyond the four sides of each tile -- the design continues beyond, and I find that fascinating.

Inspiration: 19th Century Garden Statuary

Since I was first exposed to architectural decoration of the 19th century in Art History classes way back when, and especially work done in France, I always find myself fascinated in researching such things as gargoyles and elaborate ironwork, stone carving, bronze furniture fittings, drapery hardware, representations made in everything from buildings to antique French fabrics. My most recent source of "oohs and ahhs" has been selections from a garden statuary auction being held by Sotheby's in June. I love planters, finials, scroll designs, Bacchus heads, and this auction seems to bring all these images together. Enjoy: most of the pieces here are indeed French 19th century, and all primarily made of limestone.

Linocut: My First Attempt, Part 1

I have been interested in trying my hand at linocuts for a while now. This is the technique of making an image by first drawing it in reverse on a linoleum block such as the one below. I purchased at the art store a few blocks to experiment with, in the same size as the cards I will be printing on for the upcoming website, 5 X 7 inches. I also picked up a set of linoleum/woodblock cutting tools, although after watching the videos at the end of this post in addition to others on YouTube, the one that seems to work the best to cut fine lines was not in my set of tools.


The idea for a greeting card that i have been tossing around for a while now was to have a cherry tree with cherry blossoms, and have a golden birdcage hanging from the tree. Sitting on the branch above would be an origami folded crane. I reversed the sketch I had come up with and drew it in pencil directly onto the linoleum block. I then carefully dug out all the spaces in between my drawing. I found that a steady hand comes in handy. I was, however, having to try all the tools to find which dug out larger areas better, and which ones enabled me to get into very narrow areas, or areas that came to a point.

So this is how my first linocut block came out. I thought to myself that printing would surely show the several times my hand slipped, or that I was struggling to cut out fine lines. When it came to printing I realized a couple of things: first, that I did not have pink paint for the flowers, nor did I have brown for the tree. And how was I going to have several different colors in one print? Then i realized that the pros had one separate block for each color. For the tree, everything but the tree would have to be cut out, then everything but the cage would be cut out, and so on. So I printed out a few using black and gold, trying to apply paint with my fingers, but also using a Brayer. So that's why this is Part 1, I have to get the right colors and perhaps clean up more off my design, etc... I'll be back!

Below is a great depiction of the process of making a linocut. Chris Ridenour is an artist that has put several videos of his linocut work on YouTube. I browsed YouTube mostly to find any tips that might make the cutting process shorter, but other than using the right tools and having a steady hand I did not experience any sort of divine enlightenment. It is, however, very helpful to see these videos and be able to watch other artists in action.

Peter Callesen: Paper Genius

Peter Callesen, Fall, 2008

After giving kudos to one artist working wonders with paper, I just wanted to also mention Peter Callesen. Peter is a 41 year-old Danish artist/paper cutting wizard who creates mind-boggling large scale installations. He cuts an image or a series of images out of paper, and then a three dimensional piece is created out of the cut out pieces. Some of the installations take up an entire room, and the effect of viewing his pieces must be very impressive. I suppose in a small way I feel a sort of kinship to an artist like Peter or Katsuya Kamo in the previous post in that they take something almost nondescript - such as white paper - and envision something so creative that it takes the particular object above and way beyond its original purpose. Making a bold statement. Thinking outside the box.


Peter Callesen, Big Paper Castle, 2004

Please see more of Peter's work on his site.



Peter Callesen, White Diary, 2008



Peter Callesen, White Diary, detail

Paper as Couture: Katsuya Kamo

I have been thinking about paper the past few days: folding origami cranes from colorful Japanese paper for a greeting card idea that's stuck in my head. This is followed by my search on YouTube for more intricate and impressive paperfolding. This then reminds me of Katsuya Kamo, a brilliant artist & paper wizard recruited by Karl Lagerfeld to turn the Spring 2009 Chanel Couture show into a spectacle in white. What Kamo and his assistants created for this show was nothing short of breathtaking - all white flower hair and head pieces for a couture collection itself almost completely white. These intricate assemblages of flowers are made out of PAPER, paper. Incredible.

The Paisley Shawl, Part 2

Throughout my years of experience I gained an appreciation for not only these shawls but for all antique fabrics in general. There were only two reasons for me to even consider cutting into one of these shawls: if a client purchased one we had in the shop and asked me to design and make something with it, or if one was damaged in sections but there was enough in good condition to make pillows or a lampshade or perhaps even recover an ottoman.








Pictured above and below are some of the actual pieces i custom made for clients using pieces of paisley shawls.