In Progress: A Question of Taste, Part 3.

Let's see A Question of Taste through to its completion.

With the body of the piece roughed out, I can turn my sights on making a tiny hanging mobile which will suspend from the fork tines. This one will be made from bronze wire. 

 Readying an element.

 The balance being struck.

 The structure complete. Be sure to join me in my online class in July in making mobiles - Poetry in Motion - to discover how addictively enjoyable it is. (Shameless plug.) More info Here.  Or simply join my Facebook group to get updates about it Here.

After patinating the wire and attaching it to the fork, I go about applying numbers to each of the mobile's paddles.

 I'm using the same page as the lens openings were lined with on the body of the piece.

The numbers being added.

 I drop what I've got done into place so I can have a good look at what's happening. I'm thrilled with the combination of static and mobile elements. Now to find the panel to put behind the mobile.

Running off the piece on a photocopier helps me to design choices at actual size.

 More of the same book cover will be used. This will give the piece a unity from top to bottom, and the decrease in contrast behind the mobile will allow the mobile to sit forward without dominating the composition.

 In place. Now I'll make anchor 'ropes' that will tie onto the two side tines of my little fork. Between the name plate at the top and the thread tying the fork below, it will allow for small movement and increase its strength. Plus, no glue!

 Running the Irish linen through the piece.

Preparing to tie the threads to the fork.

 Now the plate gets screwed into place at last.

 A tiny staple is made to stabilize the handle of the fork and keep it centered on the piece.

 Just about to tap it down into place.

 The original label on the back of the shirt stud box is just beautiful, and offers me the perfect place to sign the piece.

 With the pendant complete, I set about making the cord/chain assembly. No rushing here; I want it to be very empathetic with the piece. I begin by making two very tight and willfilly haphazard kumihimo braids of silk.

 Designing the elements that will bridge between silk and...?

 Readying to cap the kumihimo braids. A fella and his tools.

 One cap complete.

 The other midway through fabrication.
 

The final part of the hanging element is this stunning little fabric drive belt from an archaic machine. I attach it on one end with tiny upholstery studs.

 The chain and cord complete and ready to meet the pendant.

That does it. It's a unique piece in my output, as it didn't rely on previous pieces for reference. Come check out the finished piece Here, or look into purchasing information Here.

Thanks for joining me - see you here soon - and leave your comments below, I do love reading your impressions!

Keith

 

In Progress: A Question of Taste, Part 2.

Welcome back!

Now that my title brass plate is looking as I'd like it, I can put it aside and turn towards modifying the shirt-stud box.

 The top chamber's fabric is gently lifted away. I'll be saving this for something else in the future, perhaps.

 I'm fascinated to expose the hand-carved wood which hasn't seen daylight in almost 150 years. This was truly from a time when most everything was hand-fashioned.

 A circle is scratched into the leather covering...

 ...then cut from the wood to allow a lens to be fitted.
 

A gorgeous old science-instrument lens is chosen, with an amazing geometric mirrored focusing hairline.

 Now the bottom velvet is eased out. Not sure if I'll use this or not just yet.

Here's another quiet delight - the backing material for the velvet panel sports a fragment of mid-19th-century ledger paper. Yum. I ponder all the millions of hidden fragments that lie dormant behind old picture frames, inside book bindings, etc. This little discovery really thrills me.

 The inside of the box exposed. Now it's a blank canvas, just waiting.

Returning to the cello bridge, I inlay a lovely layer of paua shell laminate and grind down the diameter of two small lenses to fit the lower openings.

Checking out the fit and feel.

 As I return to the fork and prepare to bend the tines, I make two decisions: 1) the fork itself will be the element that holds the whole piece in the open position, and 2) from it will be suspended a small mobile.

 The tines ready.

 Off to my storage bits and pieces to find just the right material to fill the box. I find and settle on a spectacular 1787 book cover whose intricate marbleized end paper is perfect.

Cutting out the shape.

The hole in the center will be barely visible behind the lens.

Checking out the order of things...

 Now the interior is built up. Horseshoe crab spines encircle the opening.

In preparation for attaching the lens to the outside of the box, I wax up some heavy 1920's Irish linen thread.

Threading it into place.

  

The spines and book cover as seen through the lens.

The faces to peer from behind all three lenses are chosen from my archives.

 The engravings in place and drying.

 Now strips of text are cut to rim the interior of the magnified space. The man is peering at a green chalcedony, but I decide to replace it with a more subtle organic object:

The whole assembly in place and finished.

With the inner chambers complete up top, the piece awaits the bottom treatment.

Next week, the bottom of the box is addressed, the mobile is created for the front, and the hanging chain or cord is configured, putting the finishing touches on A Question of Gravity. Please join me for the home stretch.

Keith