 |
 |
| Home • Studios • Jewelry • Carving • Other Creations • Gifts • Note Cards • Events • Place Order • Contact • Links |
Other CreationsCollaborations | AssemblagesCollaborationsCustom Built BBQ My son, Corrin Fairbrother, makes custom concrete countertops (www.concretecountertops.ca). I collaborated with him on this BBQ which has imbedded smooth beach stones and an ammonite fossil. I carved the doors which are Japanese kanji for "food" and "fire". I also constructed the knobs with fired and patina-ed copper metal clay.
Custom Cedar Door When my friend and artist, Rosemary Danaher, had an addition constructed for her home she commissioned her builder to make a new red cedar door. When it was about to be hung it was transported to my patio where Rosie and I arranged my drawings of hummingbirds and eucalyptus leaves on the door. Her skill and design sense as a painter also came through by drawing the branches designs. Part of the design was given to another skilled artist to etch the glass window beside the door. Finally my test piece of 3 sizes of hummingbirds on a piece of cedar was used for the doorbell frame to the right of the window.
Assemblages
Click on an image of a mixed-media assemblage below
for a larger view and details about the work.
Process: My work begins with the thrill of the materials I have found. I collect "neat junk" for what it says to me. The juxtaposition of colours and textures seem to reveal "a feeling". There might be a dream or philosophical question that I express. Many of my assemblages look like altars or doorways. Symbolism tells more about the message. I have made paper from scratch using such materials such as daphne, iris leaves, nettles, and Japanese fibres. As well I re-pulp and reform high quality art papers to create specifically designed papers much like one would weave, dye, or print textiles. The process of papermaking involves cooking and macerating plant fibres. Then I remove the starches by rinsing thoroughly. The remaining cellulose fibres are put into a vat of water and lifted out with a screen (called mold and deckle). This mat of paper fibres are then laid to dry. I spread out my papers and objects on a trestle table and arrange compositions. When all the elements are in place I begin to secure them. For most work I follow conservation measures and stitch rather than glue papers to linen fabric over acid free mat board. Because of the sculptural nature of the assemblages, they are covered by deep Plexiglas frames for protection.
|
Foxgloves are reseeding themselves all over our property.