I was gifted a large, warped, blackened plank that had languished in a shed for over 50 years. After machining, it turned out to be old-growth Brazilian Mahogany! I have combined it with African Wenge to make my second piece of furniture - a console table.
Combining these two woods is always a delight. The flecked figure of the Masur Birch is rare and is much sought after. The contrasting Bog Oak makes a stunning piece.
Combining these two woods is always a delight. The flecked figure of the Masur Birch is rare and is much sought after. The contrasting Bog Oak makes a stunning piece. Masur Birch was used by Faberge in one of his fabulous eggs.
The ‘Two oaks’ series explores the contrast between modern Oak and Bog oak, carbon-dated 3,300BC. In this ‘triple-decker’ bowl I used the classic ‘white’ Oak that is familiar to us all.
The ‘Two oaks’ series explores the contrast between modern Oak and Bog oak, carbon-dated 3,300BC. In this ‘double-decker’ bowl I used the rare Brown Oak that is created by the wonderfully named Beefsteak Fungus infecting an Oak tree.
The ‘Two oaks’ series explores the contrast between modern Oak and Bog oak, carbon-dated 3,300BC. In this ‘single-decker’ bowl I used the rare Brown Oak that is created by the wonderfully named Beefsteak Fungus infecting an Oak tree.
To avoid cracking, I turn Holly while it is still wet, and turn it very thin. If it then dries successfully, I carry out the piercing. In this piece, I was able to retain the natural bark edge of the piece.
The last of the ‘Boxed in’ series is made of Masur Birch and Indian Ebony. These are two of my favourite woods and the cool Masur Birch contrasts well with the very warm tones of the Indian Ebony.At a show somebody asked me how many holes there are, and I didn’t know. It is 120.
Again this features Masur Birch from the Arctic Circle.Here, I have added the ‘lights’ as rings of coloured veneer, made into a ‘sandwich’ with up to nine different layers of veneer.
Ash is a wonderful native hardwood that often hosts dramatic burrs. Here I have simply burnt the convoluted rim to contrast with the silky smooth bowl.
This small ‘vase’ was made from a stunning lump of Silver Birch burr. The figure in the wood was beautiful and I managed to retain the contrasting bark in this very thin ‘vase’.
This clock face is made by ‘bookmatching’ two slices of Australian Red Mallee. This was then mounted in a frame of Steamed Pear inlaid with Bog Oak ‘stringing’.
In Beech, spalting normally starts after the tree is felled, and is the first stage of the wood very gradually rotting away. As soon as the wood is dried, the process stops but the colour remains. It is a real wonder of nature, and no two pieces are ever the same.
