About david neat

Sculptor, model-maker, teacher and writer

‘Contemporary Living’ at Christie’s South Kensington – Part 1

 

Miniature exhibits and 'push tools' from the interactive model 'The Patron's House' exhibited at Christie's during 'First Open' April 2017

I have just finished work on a particularly interesting, rewarding .. and of course demanding! .. piece commissioned by the London gallery The New Craftsmen for a showing of their artists’ work in conjunction with pieces from the Johannesburg based Southern Guild and items from Christie’s contemporary collection. The ‘exhibition’ .. along with my miniature, interactive version of it .. will be briefly open to the public at Christie’s South Kensington under the title ‘Contemporary Living’  from April 1-4 before the auction process starts. So yes, it opened already yesterday .. but it’s public tomorrow from 9.00 – 17.00 and on Tuesday 9.00 – 17.00, continuing 18.00 – 20.30 .. admission free!

The idea was to include a playful, dollshouse-related, interactive model within a showing of applied craftsmanship and artist/designer furniture .. so that visitors can actually rearrange the exhibits according to their own preferences. ‘The Patron’s House’, as it’s titled in the show, is really a more simplified, ‘toyed with’ version of the exhibition space, but opened out to allow more access.

'The Patron's House' Contemporary Living at Christies, April 2017

'The Patron's House' David Neat, Contemporary Living at Christie's, April 2017

The work had to be done relatively quickly .. there were more than forty individual objects and, within the realm of the model, each piece had to have its own plinth. This was mainly for practical reasons, so that the pieces can be moved around without harming the delicate models. From the beginning we felt that the plinths should be somehow decorated .. stark white plinths may often be the safest option in real-space, but the model needed something more playful. In the end I opted for a mixture of patterned, plain white and veneer-clad plinths. Another thing that was clear to us from the beginning was that there needed to be some juggling with the scale of the objects themselves .. so that the smaller objects could retain enough presence in competition with the larger. This is a feature of traditional dollshouses .. whether intentional or not. I chanced upon the idea of making ‘positional rakes’ similar to those used by a croupier, because participants needed to be given more ‘reach’ .. we couldn’t do away with the three main walls because the ‘paintings’ would need them, so the model could only be comfortably accessed from one end.

'The Patron's House' David Neat, Contemporary Living at Christie's, April 2017

'The Patron's House' David Neat, Contemporary Living at Christie's, April 2017

I had the chance to take photos of the individual model pieces while they were still in my studio, so I’m presenting them here followed by the photos of the real-life pieces I’d been using as reference. I often only had one publicity photo to work from plus outline dimensions, though The New Craftsmen provided a thorough series including details and good ‘white balance’, which helped a lot when trying to assess true colours or identifying materials. Nevertheless with many of the objects I had to settle for a reasonable ‘overall suggestion’ or sometimes even a ‘playful variation’ on the essential look. This was just as well because it was perhaps inevitable that the galleries had to make some mid-term changes to the exhibits, meaning that what arrived was a different version of what I’d been working on. For each object I’ve also included some notes on the materials and the processes I used, some of which I developed specially for this work.

Conrad Hicks

Conrad Hicks 'Implement Table' and 'Copper Chaise', Southern Guild, models by David Neat

Conrad Hicks 'Implement Table', Southern Guild, model by David Neat

South African Conrad Hicks works principally with forged metals, in these cases copper and iron. I had to use real copper sheet to achieve the look but the verdigris is just an acrylic paint job. After experimenting with a few different scaled thicknesses of copper before it would behave, I finally spraymounted two of the thinnest together to combine the right strength with easy bending. I didn’t have to beat it! .. the texture was easily done with an embossing tool. Deciding what to use for the iron frameworks was difficult at first, but in the end cutting out shapes in 3mm black Palight ( foamed Pvc ) proved the best solution. Below are the photos I was referencing for Conrad Hicks Copper Chaise and Implement Table, both forged copper and iron, courtesy of Southern Guild.

Conrad Hicks 'Copper Chaise', Southern Guild

Conrad Hicks 'Implement Table', Southern Guild

I wanted the plinth decoration throughout the range of objects to be as noticeable but also as subtle as possible .. and I wanted it to last, and not get dirty from handling. I wanted colour and pattern to ’emerge’ from the surface .. so neither direct painting nor pasting paper prints would do! I also wanted the pattern to fade out smoothly at the top, otherwise it would clash too much with the objects. In the end I found that inkjet printing 100micron clear transparency film with found pattern images and gluing inked side down to the plinth Pvc with strong spraymount ( Photomount or Craftmount ) did a perfect job! To be safe I let the printed sheets dry for a day before using (the ink takes much longer to dry on acetate). I also needed to prepare special strip portions of the pattern images first, using the Graduated Filter in Paint Shop Pro to fade each strip at the top. Once applied and trimmed, I ‘silked’ the surface of the film to take away the gloss with fine abrasive cloth.

Sebastian Cox

Sebastian Cox 'Scorched Shake Sideboard', model by David Neat

Sebastian Cox 'Scorched Table', model by David Neat

The British furniture maker Sebastian Cox, represented by The New Craftsman, uses traditional woods .. specialising in coppiced timber and self-managed woodland .. but often subjects them to a very controlled surface scorching resulting in a deep black. For both his sideboard and large table I found again that black Palight worked best of all because I could vary the surface effects from a slight-sheen sanding for the sideboard to a deeper matte graining on the table. For the front doors of the sideboard, which in reality are composed of cleft ‘shakes’ .. a form of shingle traditional to Japan .. I had to texturise thin strips of 1mm white Palight, apply them, then paint them with matte black Humbrol enamel. I dry-brushed with a slightly lighter acrylic to further emphasize the texture. I felt that the table needed a simpler, veneered plinth .. in this case oak sealed with water-based ‘satin’ varnish. Below is the real-life Scorched Shake Sideboard, but since the table was a new work there is no proper photo as yet ( courtesy The New Craftsmen and Gareth Hacker Photography ).

Sebastian Cox 'Scorched Shake Sideboard', courtesy The New Craftsmen and Gareth Hacker Photography

Dokter and Misses

Dokter and Misses 'Kassena Isibheque', model by David Neat

Dokter and Misses are not a married couple in spite of what the name might imply, but a multi-disciplinary Johannesburg design company of more than two. One of their special ‘Editions’ .. as different from their ‘Products’ .. is their ‘Kassena’ collection, a unique looking range of robust wooden cabinets which are all hand-painted, inspired by the painted adobe structures of the Kassena people from the border region of Ghana. These cabinets contain drawers which are almost hidden apart from tell-tale hand slots .. because my time was limited I had to sacrifice this feature. For the same reason and also because of the minuteness of the scale I had to simplify the geometric patterning (which does actually represent texts in an indigenous writing system) and resort to Letraset to create an effect. Below is the original, hand-painted solid beech wood Kassena Isibheqe, courtesy of Southern Guild.

Dokter and Misses 'Kassena Isibheqe', Southern Guild

Bristol Weaving Mill

Bristol Weaving Mill, Rag Rugs ('Blue Ombre' and 'Yellow & grey'), models by David Neat

Also represented here by The New Craftsmen, BWM had two rag rugs in the show made by Juliet Bailey, one of the directors. In the model I mounted these either side of a freestanding plinthed wall piece. For the first time I felt I was using my usual recommendation to use painted sandpaper for carpets to good effect! I painted a very coarse sandpaper white first then detailed the colours in matte acrylic. Below is one of the two originals, the Yellow & grey courtesy of The New Craftsmen.

Bristol Weaving Mill, rag rug 'Yellow & grey', The New Craftsmen

Mock Mock

Mock Mock (Pieter Henning) 'Stone Tables', model by David Neat

Pieter Henning’s design label Mock Mock produces, amongst other things, simple combinations of copper and stone of which these ‘tables’ are an example. Henning comes from the Klein Karoo valley in South Africa. I didn’t stand a hope of bending and soldering flat metal strips at this scale so I cut the slender shapes from thin styrene sheet, combining with discs of thicker Pvc.

Detail of Pieter Henning's 'Stone Tables' for Mock Mock, models by David Neat

To suggest the coloured stone or marble patterns I started with a generalised base colour, then stippled spots of lighter acrylic using a piece of reticulated foam. Tissuing this before the paint was properly dry created a more natural and varied effect. The copper is simulated with Humbrol metallic enamel. Below are the items Southern Guild originally intended to send .. the ones which arrived were significantly different, not as colourful though of the same type. In a sense this didn’t matter .. it became part of the models separate and playful existence.

Pieter Henning 'Stone Tables' for Mock Mock, Southern Guild

Gareth Neal and Kevin Gauld

Gareth Neal & Kevin Gauld 'Brodgar Bench', model by David Neat

The ‘Brodgar Bench’ featured on the left above was designed by London-based designer Gareth Neal and made by Orkney chair maker Kevin Gauld. The model needed to be mainly wood, nothing else would have been right .. in the end I used a combination of obeche, limewood and bamboo for strength. For the woven straw back I resisted trying any woven fabric, fearing a fibrous mess .. so ended up engraving the weave pattern in 1mm Palight (to the right is a day-bed from Louisa Loakes & William Waterhouse which will feature separately in Part 2). Below, the original Brodgar Bench, oak with woven straw back. Courtesy of The New Craftsmen

Gareth Neal and Kevin Gauld 'The Brodgar Bench', The New Craftsmen

Jesse Ede

Jesse Ede 'Lunar Bench', model by David Neat

Lastly for this part, another very different form of bench from the South African Jesse Ede. Most of the original was cast in recycled aluminium, making use of the rough, pitted texture .. so Humbrol ‘silver’ enamel with a little sand mixed in simulated this perfectly. The distinctive slate shard was easiest to model in polymer clay then paint using my ‘open foam print’ technique. The photo of the Lunar Bench in recycled aluminium and Malmesbury slate is courtesy of Southern Guild. The photos illustrate how one needs to be wary of foreshortening when judging photos .. my proportions are fairly accurate!

Jesse Ede 'Lunar Bench', Southern Guild

 



 

 

 

Advice for anyone interested in beachcombing or mudlarking the Thames Foreshore

I’m working through my obsession partly by writing about it .. and probably making it far, far worse! But at least I’ve completed this very practical guide and deposited it as the first entry in a new folder Thames Foreshore in the main menu strip. The guide even includes an illustrated list of the different kinds of mud, which in its seriousness may be amusing to some! But I’ve chosen not to preview that particular part as an excerpt here, rather this other part.

What might you find?

As I said, different spots may offer up more than others if you’re just looking for historical human artefacts but if, like me, you’re just as keen to see interestingly shaped stones, driftwood or unexpected flotsam .. just about any point on the Thames Foreshore will do! Most locations have either patches or whole banks of shingle, some interspersed with areas of sand, others with areas of mud. Regarding those ‘stones’, I had, as it were, questioned their authenticity earlier. What I meant was that much of what first appear as nicely weathered, rounded pebbles are fragments of brick or roof tile, or natural chalk which was ‘shipped in’ and laid down as more comfortable beds for the barges. There are pebbles, mainly flint, which were naturally deposited by successive glacial actions up to the last Ice Age around 21,000 years ago .. but many of those, especially the larger and more weirdly shaped nodules, could have just as likely been shipped in along with the chalk.

Pipe bowls, Thames Foreshore, Wapping

For most visitors the fragments of clay tobacco pipe are the most memorable novelties, and a trademark of the Thames foreshore. Pieces of pipe-stem are easy to pick up in certain areas, complete bowls less so .. but spend enough time on the first type of mud featured earlier and you may even extract a perfectly preserved bowl with a few inches of stem! There are so many fragments, not just because for more than 300 years they were sold filled and routinely chucked when smoked, but also because the hundreds of pipe-makers working along the foreshore would likely ditch their kiln leftovers or rejects into the Thames. Even today most will be found close to where the numerous ferries used to transport workers either across or along the Thames, because although the Thames currents will move many things around over the course of time the mud will also tend to accept, envelope and preserve many things where they fell. Because of that it’s not unheard of to find complete ones, which could sometimes be more than a forearm in length!

Clay pipe bowls can be dated with some certainty according to their shape, size and decoration, and with even more accuracy if they feature a maker’s-mark on the ‘heel’, the protrusion under the bowl. The top pipe bowl above dates from 1640-60 while the one below is a fairly typical decorated one from 1780-1820.

Pieter Claesz 'Clay Pipes and a Brazier' 1636

Tobacco Pipes and a Brazier 1636  (Hermitage) by the Dutch still-life painter Pieter Claesz showing a very similar form to the older pipe bowl above.

Two other common items that can do with a little background are the oyster shells and the animal bones. Oysters have been native to the Thames Estuary since the beginnings of time apparently, and it was only relatively recently that they ceased to be a major food source especially for the poor. So the abundance of their discarded shells along the London Thames is more than accounted for by that fact, whether or not the river itself supports them or how much they’ve been specially farmed here in the past. The same applies to the animal bones .. the city’s unusable leftovers tipped into the Thames for hundreds of years. As far as I know the common ingredients are sheep, cow, goat, pig and poultry, perhaps with a portion of horse and even a smattering of boar, especially in the Greenwich area where the Tudor royal palace used to be.

Animal bones against the river wall, Thames Foreshore, Wapping

It’s tempting to think this .. that the concentration of bones in the Greenwich area relates either to 200 years of Tudor/Stuart feasting or to the 19th century Foreign Cattle Market at neighbouring Deptford .. but I’m not so sure. I suspect it has more to do with the river bends and the way these influence where the tidal currents deposit different things. Greenwich has a high concentration because it’s at the centre of a ‘concave’ and the same applies to Wapping where the above photo was taken. On a recent visit to part of Rotherhithe on the opposite side, i.e. on the ‘convex’, I noticed there were surprisingly few.

After the stones, the bones and the oyster shells, the next most noticeable without really trying are the fragments of pottery .. or ‘potsherds’ as they’re often referred to, mainly because it’s the kosher archaeological term. One doesn’t go down to the Thames foreshore seeking a complete pot .. you’ll have to go to either a museum or an antiquities dealer for those .. although apparently there have been rare occasions! But I don’t think it’s widely known how significantly old these fragments can be .. surprisingly many can date back to the Roman occupation or even earlier! The problem with most of them especially if water-worn .. is proving that .. if only to oneself. So it’s always more satisfying to find a fragment which has an unmistakable shape, a definitive pattern, an identifiable colour or glaze. There are a surprising number of 17th-18th century fragments, most commonly cream-coloured slipware or white/blue Delftware which are easily recognisable after one’s seen the first .. even more so the pieces of 16th-17th century Bartmann or ‘Bellarmine’ bottle/jugs.

Fragment of 'Bellarmine', Thames Foreshore, Rotherhithe

Above is part of the trademark bearded face from an 18th century German Bartmann jug and below a small piece of 18th century English slipware.

Small piece of 18thC English slipware, Thames Foreshore, Greenwich Peninsula

Then there is the limitless count of things which, on the one hand, anyone can come across by incredible chance or ‘fate’ at any time and in any place without trying, but which on the other hand one’s much more likely to come across by putting in some time and effort. I mean the coins dropped throughout the millennia back to even before there were pockets; the tokens, some just as old, which were used in place of money; the religious badges or emblems which pilgrims could buy; the many and various tools, including weapons, used on or around the Thames foreshore .. the list is, as I say, unlimited. Except perhaps in one respect .. purposefully buried treasure! .. because who in their right mind would choose to do so in a place where they could be so easily seen doing it and who, with any knowledge of the Thames, would choose such a fluid and changeable location?

How can you improve your chances?

As I’ve suggested, if you’re happy to remain fairly casual about whether you find anything or not then all you need to do is look downwards and let fate decide the rest. If you’re more ‘engaged’, to the point of feeling that you really ‘deserve’ to find something .. that state of mind will certainly help! But added to that, a little preparatory knowledge is bound to help even more.

In the first place you should go a little before low tide, to experience the location at its fullest. Most are varied beaches, as I’ve said, likely to include areas of dry shingle higher up; mixture patches of stones/sand/mud lower down; and lastly wetter, usually older mud nearest the waterline .. you should check out all of them! You may observe while doing so that certain materials or fragments have tended to rest together along the same ‘tide-mark’. Often, though not always, if you find interesting things along one of these, following the same level along the beach or the ‘mark’ if it’s visible will reveal more. Mudlarkers refer to these as find lines but they might be looking for different ones because they’ve learnt the value of scraping under the surface. Often a darker tone of debris, perhaps even including darker sand or silt, may indicate an earlier ‘historical’ seam. But don’t take the word ‘seam’ too literally because these aren’t arranged as clearly and logically as strata in a cliff face.

Another one of the mudlarkers’ favourite phrases is getting your eye in’ or as I think of it, being tuned to the tell-tale signs of ‘otherness’. Much simplified, if you’re after the usual things I’d recommend you tune your eye to pick up circles and parallel lines for a start. Proper circles, or parts of them and especially ‘rings’, are not native to this environment so they can denote pipe-bowls facing upwards, ends of bottles, bases or rims of pots .. and coins! Neither are regular parallel lines ‘natural’ here .. they’re one of the chief indications of the man-made .. and here they may denote most forms of decoration or simply ‘something straight’.

Of course, colour difference can often be the strongest indication generally and it’s a happy coincidence that the raw umber colour of Thames mud is perfectly balanced to contrast equally with pale pipe-clay and warm terracotta. But up against the shingle the competition of colours is fiercer so here especially one is much more dependant on form.

Scanning for 'circles', Thames Foreshore Deptford

As an illustration of this, the photo above is what I was lucky enough to notice on a recent visit to my local stretch of Deptford foreshore, and below is what it turned out to be. This was a popular form of pipe for a while in the mid 19th century but they’re not a common Thames find and they weren’t a great deal longer than what’s been left here. These male heads were often of dragoons or Turks, presumably because of the convenient headgear shapes.

Mid 19th Century male head pipe, Thames Foreshore Deptford

For me it always ‘marks the day’ when I find a particular type of item I haven’t found before, like when I found my first ‘wig curler’ which was only the smallest of fragments rather than a complete one, but that hardly mattered.

I’d estimate that even when one knows the beach and its ‘hot spots’; however experienced one might be at searching and however well-tuned the eye happens to be that day .. the chances of seeing even what’s lying in one’s path can’t be more than 50%. This is because unless you’re standing still you have to swing your gaze to-and-fro while moving, so there’s always an equal chance that something is on the ‘fro’ while you’re on the ‘to’! But I really think that’s as it should be .. it means that other people get a ‘look in’ after you, including yourself at another time.

The next illustrates the importance of having an eye for parallel lines, for which I’m using photos courtesy of Lara Maiklem (@london.mudlark). What she first spotted was this .. the hint of a stoneware colour, but otherwise the only marks distinguishing it from its surroundings were a few incised lines.

14th century Dutch toy whistle, Thames Foreshore, @london.mudlark

Only a small part of it was visible and it turned out to be part of a 14th century toy whistle from the Netherlands. She was able to identify it so precisely after posting it on her Facebook site because it received a response from someone who had seen a near- identical one in a Dutch collection, shown in the b/w photo.

lon-mudlark_whistle

Lastly, if you’re looking for success .. you just have to put the time in! Often, after checking first when at least some of the beach is even accessible, I’ll be down there 2 hours before low tide and stay around until 2 hours after. It may be annoying at times but I’m thankful for the limit the tide imposes .. otherwise I’d be spending far too much time down there for my own good!

Thames foreshore

I felt I needed to explain why I haven’t been posting for a while and to, hopefully, start recompensing. I’ve been unable to write partly because I’ve been trying to get to grips with a rather overwhelming obsession with the Thames foreshore. Before I moved to Deptford in 2008 and discovered that we were within a stone’s throw of the access stairs known as Upper Watergate I had always loved the Thames whenever I saw it .. as most Londoners do .. but had never considered getting that close to it. That started to change on realizing how very ‘interesting’ everything down there could be at low tide! We quickly became so accustomed to spending time there so when in 2009 the photographer Brittany App wanted to take some shots of us in our favourite environment there was little question about the choice.

David Neat and Astrid Baerndal photographed by Brittany App

St George's Stairs, Thames foreshore 2017

What made our local ‘beach’ so appealing was the wealth of options! We could go down there with a camera or a collector’s bag, most often both .. either way we knew we would almost always come back with something of value. We could go down there to think, mentholated by the unbelievable peacefulness of the place .. but equally we could benefit from the opposite when we didn’t want to think, when we needed to take our minds ‘off’. We could go to experience a semi-natural habitat shielded from the human bustle above, hearing only wind and water, sharing it for the moment with flocks of seagulls, families of swans, solitary herons, cormorants or the occasional fox .. or we could go for reminders of our own human past amongst the decaying jetties, fragmenting ironwork or even more ancient timbers. Often we would go there just to be amused .. it’s strange how regularly the foreshore offers up images or objects in seemingly deliberate opposition!

Heron at Deptford, Thames foreshore 2016

Plastic duck, Thames foreshore 2017

The foreshore collective constantly plays tricks! Objects often appear to be what they’re not .. little scraps of red-brown rubber will often sit amongst the pottery sherds; white cable stained with age will poke up amongst the pipe fragments; smoothly rounded ‘pebbles’ of brick most often outnumber the naturals they’re imitating. Even the knowledgeable can be fooled by the chalk i.e. knowing that this part of England lies on a massive chalk foundation .. but this chalk hasn’t risen from underneath the London Clay, it’s what remains of the chalk that was shipped in and laid down as more stable beds for the barges. The presence of most things to be found on the foreshore, and the reasons behind their abundance in certain places or their absence in others, can often be illuminated by a little historical detection. But there are unsolved mysteries too .. for example, why so many of the oyster shells have holes in their centres (apparently this is not jewellery) or where the strange green stones found around the Rotherhithe shoreline come from.

When I put it in these words .. no wonder I’ve become obsessed!

But this present obsession is much stronger than before because for the last few weeks I’ve started to think seriously about how I can use it, or in better words .. what I can make out of it! So I started by interrogating what the attraction was down there, what thoughts it was generating .. what was the sculptor in me thinking rather than purely the person? I wasn’t just scanning for historical fragments but seeking out aesthetic ‘favourites’ from the multitude of shapes on offer, regardless of what material they were or their social significance.

Pipe bowl, Thames foreshore 2016

Whiting Stairs, Thames foreshore 2017

So I’ve thought a bit more about that act of searching .. of scanning. The brain conditions the eye to pick out the ‘otherwise’, that which doesn’t belong .. but only in terms of visual distinction, of colour and form. In other ways that whole idea of ‘belonging’ or not is debatable .. because for me as the finder all these things are ‘meant’ to be there and according to the intricate gameplay of the foreshore one thing can be as ‘natural’ there as another. It would be similar saying that the snake in the grass doesn’t ‘belong’ there

photo courtesy of marleypeifer.com

Above courtesy of marleypiefer.com

But certainly one’s looking for visual ‘otherness’ .. a contained colour or tone difference; a noticeable pause in the surrounding visual activity; anything to do with repetition especially if it’s regular i.e. evenly spaced parallel lines or divisions; smoother geometry i.e. better circles or squares than nature usually needs. Often one gets only the last-departing hints of these differences because the Thames has already had many years of ‘taking them back’. Whatever they looked like when they were newly artificial, the river invests them in camouflage, almost as if once accepting them into its folds it takes part in their concealment.

old padlock, Thames foreshore Greenwich 2017

In other places, especially higher up the beaches, there’s so much ‘otherness’ in the melee that significant others can often hide in plain sight. The fragment of pot which one can just about make out within the scrap metal frame turned out to be Tudor!

Deptford junk, Thames foreshore 2009

So I’m sure that searching the Thames foreshore has greatly enhanced my appreciation of the full formal spectrum as I like to call it ( though I have to find a better term). I mean the range of likely form types, including their usual colours and surface patterns, from mineral through organic animal/vegetable to artificial man-made. As a boy hunting for fossils I became familiar with part of it .. the lower and oldest part of the spectrum from mineral shapes and pattern coincidences to true signs of life. Physical forces may have shaped stones or given them surface patterns that look uncannily ‘designed’ but usually one gets to be able to distinguish these from the more conclusively deliberate and organised trace-forms left behind by living creatures. These have a different formal style .. almost always involving some form of equal repetition and very often showing some form of symmetry. If the fossil is more than an impression, rather a cast of the original lifeform transmuted in mineral, then there is also local colour to differentiate it from stone.

After that this formal spectrum would continue through lifeforms themselves .. especially in this context their surviving parts i.e. bones, horns, teeth, shells, driftwood, seed pods etc. Then it’s onto the artificial .. starting with stones which have been shaped as tools; including animal bones which have been modified or decorated; through to early pottery and metalwork .. and onwards! What would be at the end of this spectrum then? One might immediately think of the number of smartphones that end up on the foreshore .. but no, they’re just tools, they don’t deserve such a significant place, and in any case the spectrum is not strictly chronological. Here, and I’m just suggesting for the moment, one should place the symbolic .. forms which have no practical, everyday function other than to represent something greater! This final portion would embrace both ancient and modern .. fertility figures, talismans, religious symbols, offerings to the Thames ( of which there are many present day ones ) .. pieces of fine art, if any.

So far I’ve just been describing, and at the same time organizing, the basis inspiration for what I now want to create out of the experience so far. I have plans and I could say more, but I’d prefer to let this evolve more naturally, less deliberately. What I am compelling myself to do is to create a separate Thames foreshore section in the above main menu strip. To start it off I’m writing a more practical guide based on various places I’ve visited so far, for anyone interested in doing the same.

Furniture drawings

Louis XV period 'duchesse brisee'

Does anyone living in the London area own a cherished piece of antique or ‘classic’ furniture, willing for it to be photographed and measured in order for me to produce a complete technical drawing of it? I’m looking to record the exact dimensions and details of ‘classics’ which were common to their time so they would have to be authentic .. not repro .. but it may not matter in what condition they are, in fact this may serve as a more interesting record of how and where they ‘wear’. But also I’ve included these two examples here just to illustrate that the piece doesn’t have to be ‘mainstream antique’ or particularly valuable, as long as it has some general significance, and dating from anytime up to the 1970s.

1930s school desk, possibly French

In my article Template drawings for furniture model-making in the Methods section I make reference to a gem of a book Masterpieces of Furniture by the American architect Verna Cook Salomonsky which features a clear photo and a measured drawing for selected examples from the 16th to the 19th centuries. This was published first in 1931 and then taken up by Dover from 1953 onwards .. but as far as I know there has been nothing quite like it since!

The drawings in Salomonsky’s book are in Imperial and in any case rather difficult to read due to the book format. She also chooses not to include anything from even the early 20th century, and it may be that some of the ‘masterpieces’ are American versions of classic patterns .. which I have to check once I get my only copy of the book back! Nevertheless it’s an invaluable book, and it deserves some form of transcription into metric .. with better drawings, and covering some of the craft pieces or everyday ‘milestones’ in furniture since!

If you do have something you think would be suitable and you don’t mind my spending a few hours there recording it .. please let me know! Once the measured drawing is finished you will receive your own copy for a start. If you do get in touch via WordPress I won’t publish the post .. because you probably don’t want it advertised if you own something like an original Chippendale!

Did families really do this in rural Holland?

dutch-rural-dec

Is there anyone out there, particularly Dutch, who could tell me whether this is real or not?

I’ve had this photo for a long while because it’s really inspiring! But I’ve lost touch with where it came from .. all I remember is the info that families in the rural Netherlands would imprint their feet into the last coat of new floorboard varnish before it dried. That’s all I know! Nothing like it comes up with a Google image search and I’ve never found any reference to the custom. If you think about what sort of imprint a real foot would make .. it doesn’t really convince. If anyone can say anything definite, maybe I can finally lay this one to rest!

A day later! Many thanks for all the responses!

These reflected very much what I thought myself .. the footprints didn’t look real; too flat and clean .. not to mention the question whether covering feet in floor lacquer could ever have been a popular one! So at first it seemed to confirm that this was some stylist’s invention, with no basis in historical fact .. because the Dutch people who replied (or those some of you consulted, including a couple of historians) had never seen nor heard of this practice before! But following up the lead provided by Jeroen De Vries about the discovery in a 19th century house in Leiden ..

http://bouwhistorie.blogspot.co.uk/2013/12/kindervoetjes-vloer.html

.. it became clear that there was some factual basis, that it was actually done, though presumably not very often. A further example is this piece of floor which was recently uncovered during renovations to the Town Hall of Grootschermer, Alkmaar.

https://monumentaleinterieurs.nl/nieuws/bijzondere-kindervoetjes-vloer-ontdekt-raadhuis-grootschermer

photo1-sm

As far as I can understand, having struggled with some very dodgy Dutch/English online translation, it was a method of floor decoration practiced by house painters from the 17th century onwards .. inviting children to walk around in the wet topcoat of a prepared floor surface creating a varied marble-like pattern. Hence it is known in Holland ( maybe only to a few though) either as blotevoetjesmarmer ‘barefoot marble’ or kindervoetjes vloer ‘childrensfeet floor’! If you Google either of these terms in Dutch you will see some other examples, including some being done nowadays

http://www.walraad.com/projecten/voetjesmarmer-vloer-op-de-herengracht  

photo2

photo3

Two-dimensional luminescent beans

I have rediscovered the excitement of two-dimensional space again! I usually get the urge a couple of times a year and usually as a ‘break’ when the 3D work starts getting too laborious .. which it tends to a bit too often! For these ‘beans’ I manipulated beetle-shell photos in PaintShop Pro and then exported them into Procreate on the iPad to further paint, add layers and refine.

beans_final02websize

beans_final02,websize.jpg

beans_final01websize

beans_final01,websize.jpg

beans_final03websize

beans_final03,websize.jpg

I hope I’ll be writing about the combination of PaintShop Pro and Procreate sometime later, because over the past few years these two have given me everything I could possibly need in terms of image manipulation and ‘physical’ touchscreen painting.

What I’m not yet sure about is whether these finals can actually be the final artwork, either existing only in digital form or suitably printed, or whether they are just detailed prototypes waiting to be resized and copied in real paint. I’m not happy with even the best quality printouts. On the iPad or promoted to a bigger screen (assuming I can correct the colour and contrast changes) they’re luminescent .. literally composed of light .. and surface doesn’t come into it! But even the best print is just a pale imitation of the third dimension it no longer has, and suddenly real surface is there .. but it’s without any character! The magical third ‘dimension’ in 2D work needs to be re-invented and re-introduced by hand. For the moment, for me at least, digitally created has to remain digitally viewed.

Some of the most precious ‘artisan’ films online

I happened to be putting this collection together just before June 23 and our nation’s misguided effort to reaffirm its island status. I didn’t manage to post it back then and the moment has gone .. not the issue of course, just the collective moment. In a way I’m glad I didn’t because with hindsight I’ve been able to skim away much of the embarrassing vitriol and lack of understanding.

Here you will see examples of WORLD craftsmanship, the best of which is demonstrated not only by the final outcome but also by the manner of working and the attitude, the demeanour of the maker. In many of these you will sense the true spirit of sharing.

I’m proud to be British! We can be proud that British craftsmanship ranks amongst the best in the world but it has only achieved that by assimilating the best from other cultures and it has been able to do that from a position of priviledge. We can visit other countries relatively freely and a great many of us have the financial means to do it if we put our minds to it. We have learned a great deal and have been profoundly inspired by the wider world but there is still so much more that would do us a lot of good. How are we returning the favour? Many of the artisans featured are in no position to learn anything about us, let alone benefiting from our accumulated knowledge yet from our vantage we can access almost all that we want. I want to feel fully part of this greater WORLD we live in, not separated from it. Neither craftsmanship, nor artistry, nor knowledge really ‘belongs’ to us .. it’s shared .. and we should face up to the fact that the same could apply to many of the other things we value as our own.

But to get to the point now .. here I’ve listed either treasured examples of craftsmanship on film which I’ve known about for some time or those I’ve newly discovered. More can be found on portal sites such as Reddit, particularly if you seek out the group https://www.reddit.com/r/artisan and of course YouTube if you’re prepared to risk your time and patience with a Bertie Bott’s ‘Every Flavour Beans’ experience! For more specific quality on Vimeo you can find collections from the V&A and the Crafts Council at  https://vimeo.com/vamuseum or https://vimeo.com/craftscouncil

I’ve made a selection of those short films which have truly made me feel something .. whether it’s admiration for the seeming effortlessness of a perfectly refined skill; comfort in the affirmation of the power of handwork .. or it could be any one of these in combination with the pleasure of a well crafted film.

Good craftsmanship really needs equally good film-making! Bad film-making can make the beautiful seem dull .. just as good storytelling and camerawork can elevate the dullest or most reluctant personality. But fortunately the ‘personalities’ in many of these films, whether the objects made or those making them, are anything but dull or shy to begin with, as you will soon see!

Please note! Previously I included the proper video/links in this post but it was interfering with the loading of my ‘Home’ page so much that I’ve removed them. If you want to see any of the films you just have to go to my links section where they will be stored permanently. So don’t try to click on the image here, it’s just a ‘still’ I’ve chosen!

 

Balan the Blowpipe Maker

Balan the blowpipe maker

A very sensitive portrait of a blowpipe maker belonging to Borneo’s Penan tribe, using his own words. Balan is the last in his village to practice the craft .. but he keeps on smiling!

 

Guy Reid, Making Andrew

Sculptor Guy Reid making 'Andrew' in limewood

We follow the sculptor Guy Reid through the whole process of creating the figure of Andrew in limewood. A film by Margot Donkervoort.

 

Woodturning and painting a Japanese kokeshi doll

Japanese kokeshi dolls

Yasuo Okazaki demonstrates making a ‘Naruko’ style kokeshi doll, a skill handed down to him from his father.

 

The painting of a Scottish Opera backcloth

Kelvin Guy of Scottish Opera shows us the painting of a backdrop

Head Scenic Artist at Scottish Opera Kelvin Guy talks us through the painting of a large backdrop for the set of Donizetti’s ‘Don Pasquale’.

 

Moroccan mosaic art

Moroccan mosaic art

You’ve got to witness their complete control when shaping pieces of glazed ceramic tile and making it look like chipping shortbread! Turn the music off though .. unless ambient lift music is your thing.

 

Sugar sculpture by Jacquy Pfeiffer

Sugar sculpture by Jacquy Pfeiffer

Jacquy Pfeiffer of the French Pastry School talks about his sugar sculpting.

 

Making cricket balls

Making cricket balls 1956

From a time before ‘high tech’ manufacture .. 1956, the year I was born.

 

Making a lacquer vessel

lacquer vessel1

Korean craftsman Chung Hae-Cho demonstrates all the stages of his method for making a vessel using layers of lacquer.

 

A ceramic teapot on the wheel

Throwing a Japanese teapot on the wheel

Tokoname Master Craftsman Genji Shimizu ( artist name ‘Hokujo’ ) demonstrates making a kyusu  (Japanese tea pot) on a wheel.

 

Skakuhachi – One Man’s Meditation

Kelvin Falconer makes a shakuhachi

Kelvin Falconer makes and plays shakuhachi ( Japanese vertical bamboo flute ).

 

Turning chess pieces using a bow lathe

Making chess pieces using a bow lathe

Woodturner Mostopha Dnouch working in the street in Marrakech. Filmed by Stuart King in 2007

 

The art of marbling

Art of the Marbler 1970

Art of the Marbler 1970

The technique of marbling shown in this film makes use of a bath of ‘thickened’ water (using a carrageenan, derived from seaweed) because the paints used are water-based and they would disperse or sink far too readily in straight water. The method developed in Central Asia and became most popular in Turkey .. the Turkish word for it is ebru. The other common ‘marbling’ technique which came more from East Asia, particularly Japan, uses either inks or oil-based colours which will sit on water, as demonstrated in the other film on ‘suminagashi’ included in my links entry.