The Woolf Table

One of the great things about collaborating with other artists is that ideas spring up that otherwise wouldn’t have. 

I’m working on part of an installation piece with Stefanie Dykes, a local sculptor and printmaker for a show starting this March.  The focus will be on using printmaking, paper sculpture, and reclaimed wood to create a piece about the power of literature and the womens’ rights movement.  Specifically, we’ve been looking at Virginia Woolf for inspiration.  Having a ‘room of one’s own’ (both metaphorically and physically) is important for many marginalized groups to regain their voice.

I especially like using reclaimed materials in this context.  Things that no longer serve their purpose to the larger society, whether shipping pallets or the energy that fuels misogyny, are ripe to be repurposed for a greater good.

Sketches of the overall table design

Donor pallets

The reason many pallets don't fall apart earlier is because of these spiral nails.  They also make taking them apart difficult; this table is using the wood from 7 pallets and it took 16 hours to pick out and mill down the usable wood.

Removed pallet wood  drying -- usually the wood is very well dry by the time I get it, but this had been out in the snow for a season.

The rough-cut cabriolet table legs of laminated wood.

Some of Stefanie Dykes' book sculptures to be added to the table top.

The Canyon Table -- Part 6

The completed Canyon Table:

The carvings on the surface are of the confluence of the Green and Colorado Rivers in Utah.

The leg design was inspired by the Gamble oak tree branch structure.

Evolution Benches, part 1

I've started work on a set of 2 matching benches I'm calling the 'Evolution Benches'. They are made from materials that have served their purpose and are now changing into something else, hence the name.  The form will be very similar to the Pallet Bench I completed in '09 .


The seats are made from pallet wood that has been planed, sanded, and fixed together.  The legs are bomb fins that are stripped and polished.

Wood pallets ready to be taken apart.

Pallet wood after planing and sanding.

Before and after the initial paint removal from the bomb fins.

The bench seats ready for a final sanding and clear finish coat.

Small Multiples: Square tubing #1-7

I’m embarking on a series of projects designed to keep the creative juices flowing without a large time, materials, or cost investment.  I’ll take 30 days to make 30 sculptures starting from commonly found, identical objects.  My work tends to be heavy, so I’ll start with something light: the first 30 days I will be using pieces of square metal 1-inch tubing cut into 2-inch lengths.

Here’s the first seven days of work:

 

 

 

The Canyon Table, Part 5

Progress on the Canyon Table . . . steel welded legs powdercoated, finishes tested, and lettering applied to the wood top surface.

The Gambel-oak inspired legs back from the powdercoaters.

I like to test the finish variations before applying them to the actual project.  Then I can see how they react specifically with the wood and carving details I'm using.  After many projects I've got a huge library of finish examples.

Applying the lettering on the table top -- these are the names of some of the actual (and most important, in my opinion) locations on this section of the Green/Colorado

Healthy Chemicals: an Oxymoron?

As my collection of paints, thinners, stains, degreasers, oils, finishes, and primers grew, so did my requirements for masks, gloves, respirators, and flammable cabinet real estate.  It seemed like a good time to reevaluate what chemicals I’m using in my studio and if there was a good way to use fewer toxins in my work and lessen the chance of mushroom clouds appearing in place of my shop (or the change of poisoning myself).  I’m no chemist or environmental scientist, so the information I’ve gathered is a mixture of advertising from environmental paint companies, wikipedia, common sense, and guesswork.

A few guidelines that rose to the top:

1.  It may go without saying, but the more you want to modify a surface from its ‘natural’ state, the more stuff you have to use.  So, the best way to avoid using toxins is not to use chemicals at all, or only use those that protect a surface rather than changing its color/texture.

2.  VOCs (volatile organic compounds) are to be avoided or eliminated where possible.

There are a few sneaky paint manufacturers who advertise “zero VOC” paint, but this is only true for the base color – as soon as you add color tints it emits VOCs.  What numbers constitute acceptable vs. dangerous VOC levels are somewhat a matter of debate, depending on the location of use, sub-category of compound, and how much money the source stands to loose (or make).  From Consumer Reports :

Federal VOC limits are now set at 250 grams per liter (g/l) for flat paints and 380 g/l for others . . . California's standards are stringent: 150 g/l for nonflat finishes and 100 g/l for flat. Even tougher is the 50 g/l level for all finishes set by California's South Coast Air Quality Management District (AQMD), around Los Angeles.

My own experience is that anything over 100 g/l requires a lot of ventilation and zero VOC is by far the best -- I have to evacuate my 400 sqft studio when I use Minwax stains (250  VOC).

3.  Water-based chemicals are generally better than those that require solvents.  When you need to use solvents, use the citrus-based ones.

4.  MSDSs (material safety data sheets) are your friend – there is certain information that manufacturers are required to disclose about their product.  My experience has been that the harder it is to find the MSDS on a manufacturer’s website, the more they have to be chemically ashamed of (are you paying attention, Minwax?)

5.  Some products that seem very similar may in fact have very different properties, even if the change is only color.  Cadmuim oil paints, for example, are toxic.  Titebond II wood glue has fewer health dangers than Titebond I or Titebond III (although III is more waterproof, so you’ll have to evaluate if its is worth the extra risk for the added durability – a trade-off I saw in many wood finish products as well).

A few products that seem promising:

The Home Depot’s FreshAire Choice – I haven’t used it yet but hopefully it signifies that the push for healthy paints isn’t just a niche market/industry.

Vermont Natural Coatings – fantastic customer service, and a product line that uses the byproducts of the cheesemaking process.  I’ve made a few sample pieces and am waiting to see about durability.

BioShield – they use clay pigments in many of their products and have a nice range of wood tints.  Some of the colors I ordered arrived dried-out, so there may be some manufacturing/packaging issues to be sorted out.

Earthpaint – I haven’t tested their finishes yet, but they seem to walk the talk.

The Canyon Table -- Part 4

The legs of this table are designed to mimic the branch structure of the Gambel oak trees outside the studio.  After being welded, ground, sanded, and beadblasted to remove weld spatter and mill scale they're powdercoated.  In the meantime the top gets a series of sanding and finish coats.