To mount an attachment to the left side of my scissor handle, I need to anneal the steel first, as it is quite hardened tool steel.
Drilled through and inserted into the scissor. I love the angle.
The pin is curled around very slowly and is now a useable connection to the pendant.
Attention turns now to the wooden mirror itself.
The silvered backing is selectively removed to allow my imagery to be framed by the mirror surface.
The 'paddle' end is pierced to allow a two-sided visual.
I select as a facial image an engraving of 19th-century British philosopher Jeremy Bentham. A fascinating man in his own right, but memorable for many years to me for his request that his body be dissected and then presented as an 'Auto-Icon', where it sits today. You can read all about him here and see an interactive 360˚ view of the Auto-Icon here.
If I've been able to lure you back from your macabre detour, the mirror is prepped.
The title for the piece is now chosen, as I've got a pretty rounded-out vision of what is coming together. 'CANTO I.'
Preparing the back of the mirror 'stack', here choosing an early 19th-century patent-application engraving and adding my signature to be seen from the back of the piece.
Mica is cut as the back window of the stack.
As the stack of glass, image and mica come together, I make one of those wild-card decisions that make me trust my intuition.
Time to drop the mirror structure into the bezel of brass.
The tabs are delicately pushed over the wood, with a thick pad of felt underneath to protect the glass elements as well as the wood, which is quite brittle with age.
Join me one more time as I work out a typically unorthodox method for hanging the pendant. Thanks for joining me!