Turning and Piercing: The work of Rodney Peterson

Submitted by: Maia Stark, SCC Gallery Assistant

Rodney Peterson, a professional craftsperson with the Saskatchewan Craft Council, was born in Duncan, B.C, in 1943. Having been raised and spent most of his life is Saskatchewan, his work is mostly inspired by the Boreal forest around his Nipawin home (NAC). Peterson has had a variety of careers throughout his life: construction workers, physics teacher (for 29 years!), rail line worker, taxi driver, and professional artisan, just to name a few! (NAC)  Peterson is a self-taught woodturner, developing his skill and technique over the years by attending workshops with master woodturners. 

Many may be familiar with the concept of woodturning, but here’s a quick rundown for those who are new to the term!
Woodturning is a process which uses a “Lathe”: a machine that rotates the piece of wood you are working with on its axis (Wiki). While the piece is turning (at high speeds!), the craftsperson uses various tools to carve the wood, essentially slicing it down into the shape they want. The appeal of using a lathe is that by nature of the process the finished piece will have a (horizontally) symmetrical design. The origin of woodturning traces back to approximately 1300 BC in Egypt, where a two-person lathe was developed: one person would turn the wood with the help of a rope, while the other used a sharp tool to carve (Wiki). During the industrial revolution, the lathe was motorized in order to speed up production, focusing on mass production of wooden products. 

Peterson at work (Saskatchewan Craft Council)

Despite the “quick-production” origins of contemporary woodturning, many woodworkers incorporate a high standard of aestheticism, making unique pieces enhanced by further carving, coloring, piercing gilding, or by applying pyrography. Rodney Peterson’s work employs many of these techniques, notably coloring and piercing. Woodturning has its various hiccups and problems to overcome, just as many techniques do. One thing to consider is the direction of the grain and the direction one carves. Cutting in the wrong direction can cause the fibres to separate and “tear out,” creating a rough and damaged looking surface (Wiki). As well, there is a patience, foresight and understanding of woodturning required to be able to anticipate the shape and look of what’s being created. Carving too much or too little could lead to a piece of which the form could be disproportionate or seem awkwardly shaped.

Eye of the Garden by Rodney Peterson. This turned piece incorporates coloring and pyrography  (NAC).

Birch Ribbon Vase by Rodney Peterson. Another turned and colored piece, this vase has also had piercing applied to it (NAC).

Peterson’s works often take celebration in the small “faults” found in the wood he uses, often sourcing wood from the boreal area around his own home. Some turned pieces focus on a particular knot, enhancing the natural shape of the tree’s original growth pattern. 

By Rodney Peterson (SaskatchewanCraft Council)

By Rodney Peterson (SaskatchewanCraft Council)

To see some of Rodney’s works in person, come by the Affinity Boutique! The SCC gallery and boutique is located in the Saskatchewan Craft Council’s Affinity Gallery at 813 Broadway Avenue, Saskatoon, SK.

How to Apply to a Gallery, Part 2: Types of Galleries

Submitted by: Sydney Luther, Communications Assistant, and Vivian Orr, Communications and Publications Coordinator

Click here to read part one.

When you are applying to an art gallery, it’s important to note that there are several kinds of galleries. The first is a commercial gallery, which is an individually owned, for-profit gallery. These galleries are run as a retail business. The owner will choose to either purchase artwork outright at a wholesale rate, or to sell the work on a consignment basis. The latter option is more common. This means the artist receives a portion of the price of the artwork when a piece is sold, and the gallery receives the rest. As mentioned in the last post, there are many reasons why a gallery needs the consignment they are owed. This allows the gallery to continue to run!

The second type of gallery is a cooperative gallery, in which artists join together to set up and run the gallery. Everything involved in running the gallery is dealt with democratically between the members, and the gallery is co-owed by all the artists involved. In this case, wall space in the gallery is shared by the artists in the cooperative. If an artist wishes to join, there will be a charge and usually a monthly fee to pay. Sometimes these galleries will show works of artists who do not belong to the cooperative, but usually there is a fee for this.

Lastly, there are museums, which are publicly funded galleries which generally do not sell the work they show. These are funded by grants and through the government, and do not run like a retail business. These usually are run by some sort of advisory board and employ a curator who chooses which pieces will be shown. The institution may have a gallery gift store or boutique that does sell items. Again research is advised before approaching the store or boutique.

The Mackenzie Art Gallery in Regina is a public, not-for-profit gallery.

Have you spotted the issue with these explanations yet? They are not cut-and-dry definitions. The Affinity Gallery at the SCC is a hybrid of the public and private types of galleries. We are funded by the government and by grants, and we are considered a public, not-for-profit gallery (meaning there is no entrance fee and we are open on some statutory holidays) but we do sell pieces on a consignment basis in our exhibitions, if the artist chooses. We make money to fund the gallery through these types of sales. The SCC also has a gallery boutique featuring a selection of works by Juried SCC artists.

Again, the underlying message here is to do some research before you approach any gallery. It is important to understand these different types of galleries, as they determine if or how you can make money off of your artwork. 

How to Apply to a Gallery, Part 1: Advice from the Experts

Submitted by: Sydney Luther, Communications Assistant, and Vivian Orr, Communications and Publications Coordinator

In order to have your work exhibited in a gallery, you need to approach a gallery. However, like many things in life, some ways are more effective than others. Often gallery owners and directors become frustrated with the lack of understanding from artists about what they do and how they do it. We asked several gallery owners and operators what they wish artists knew before applying to a gallery. This is what they told us.

With the internet, it's very easy to do your research about any gallery.

First and foremost: do your research. Before contacting a gallery, check out their website and mission statement. What kind of work does the gallery show? What level of artists do they exhibit? Do you need to be a member of an organization to show there? Is your artwork a fitting style for that gallery? As one gallery owner wrote, “An abstract artist contacting a traditional gallery will probably not get a response.” Be realistic about the gallery and your work. Another owner advised, “If you are a new artist with no gallery experience, approaching a major art institution is likely not going to be fruitful.”

The second most common comment is do not walk into a gallery with your work hoping to find someone who will be immediately available to talk to you about showing or selling your pieces in their gallery. Find out who the most appropriate staff member is to speak to, and make an appointment. Everyone’s time is important; show that you value and respect theirs as much as your own. If you do walk into a gallery without an appointment, do not expect instant feedback about your work. Most galleries will not accept walk-ins of this kind.

The next advice given by those we interviewed is to check the submission protocol of the gallery. Submit everything the gallery asks for, which may include an artist’s statement, a curatorial statement, a CV, an estimate of value, and photographs in the correct type of file (for example, .jpg or .gif files). Follow the instructions you are given regarding these types of procedures.

Do not simply cold call the gallery without first doing your research. In a book directed at new gallery owners, How to Start and Run a Commercial Art Gallery, Edward Winkleman writes:

Because cold-call submissions are often the least productive means of finding suitable artists, they tend to be most dealers’ least preferred means of searching. No matter how explicit your submission guidelines may be about the type of art you’re interested in, you are likely to receive package or e-mails with images of work that seems plainly wrong for your program. On the other hand, every now and then, an unsolicited submission will make your day. Either the artist has done his research and knows his work is a good match for your mission, or fate basically smiles on you. (190)

Why not try your hardest to be that artist who makes a gallery owner’s day? Don’t wait for fate. Do your research!

One gallery manager pointed out that it is frustrating when artists are unrealistic about the costs of running a gallery. There are a huge number of expenses which are covered by the gallery’s commission on any artwork sold. A gallery’s share of a sale goes towards rent, utilities, advertising, staff, shipping, insurance, and security.  This is why a gallery will take a percentage of the profit from any sales made.

The bottom line is to research the gallery before you apply. It will save everyone involved time and frustration. However, if you find that your first few applications are not fruitful, try to remember that there is a learning curve involved. A rejection could be an opportunity for constructive feedback and success in the future. 

Click here to read part two. 

References:

Winkleman, Edward. "Artists: Where To Find Them; How To Keep Them." How to Start and Run a Commerical Art Gallery. New York: Allworth, 2009. 160. Print.

Lampwork Glass: Spotlight on Jolene Dusyk

Submitted by: Maia Stark, Gallery Assistant

“Lampworking” is a glasswork technique widely practiced in the production of beads, figurines, marbles, ornaments, scientific instruments, and more (wikipedia). As a method, lampwork requires using a flame to melt and form glass. While in the past artists used oil fueled lamps to heat the glass (hence the term “Lampwork”), modern day lampworkers typically use a torch connected to propane or natural gas (lampwork.com). Early lampworking was accomplished in the flame of an oil lamp, with the artist using tools and blowing air into the flame through a pipe in order to manipulate the stretch of flame (wikipedia).

Despite no longer using “lamps,” artists working in this technique continue to use the term in order to distinguish their work from glassblowing or other types of hot glass techniques. During the method of lampwork, a torch is safely secured to table or workbench, and it remains stationary while the artist moves the glass around the flame. This is done by slowly introducing the glass (in the shape of a rod or tube) into the flame. This must be done slowly, to prevent cracking from thermal shock. 

Jolene Dusyk demonstrates manipulating glass with the heat of a torch

A detail of a completed necklace with lampwork beads (Jolene Dusyk, SCC).

Once the glass is melted to a sufficient state, the artist forms the glass piece by using hand movements, blowing, and shaping with tools, such as a specially coated steel mandrel, in order to wind the molten glass around it. As a last action, the glass work is often annealed (heated to toughen the material) in a kiln to prevent cracking or shattering (wikipedia). This must be done carefully as well, however, as heating or cooling the glass too quickly causes the different layers of glass to expand or contract at different rates, causing cracking or breaking (howstuffworks).

Jolene Dusyk, a professional craftsperson with the Saskatchewan Craft Council, works with lampworking, specifically creating original and one-of-a-kind glass beads for her line of jewelry, JoJo Beads. Working in a variety of lush colours, Jolene “flame-softens glass rods, transforming the molten glass into one-of-a-kind beads. The beads are then designed into inspired pieces of jewelry” (JoJobeads). Dusyk’s vibrant pendants and bracelets are available for perusal in the SCC Boutique, and, for an extra sneak peak of Dusyk’s capacity for creativity and design, visit the gallery before April 12th to see her piece in our current exhibit, Wearable Art.

“Mable’s Equity” by Jolene Dusyk (SCC) 

Dusyk’s piece, “Mable’s Equity,” which won Best in Show at the Wearable Art Gala in October of 2013, incorporates Lampwork beads into a dress composed of chicken wire, twine, and other “pedestrian” materials. 
Wearable Art runs February 28th to April 12th, with a closing reception on Saturday April 12, 2-4PM. Also be sure to check out the Artists’ Talks on Saturday March 22nd at 2PM in the gallery!

The SCC gallery and boutique is located in the Saskatchewan Craft Council’s Affinity Gallery at 813 Broadway Avenue, Saskatoon, SK.

SCC Fine Craft Boutique: Cindy Obuck and Felting

Submitted by: Maia Stark, Gallery Assistant

Let’s talk about our feelings. Well, actually, I’d like to talk about feltings and fullings—the pun was well worth it, wasn’t it? Felting is a process that occurs when fibers are physically agitated, so that they seem to knit themselves together. Microscopic scales cover filaments of animal hair (wool, for example), and these scales swell open when agitated, causing filaments to interlock with each other. This agitation can occur through physical agitation, moistness, or changes in the pH of the fibers from using soap.[i] Felt is known to be one of the oldest fabrics known to humankind, as anthropologists have found artifacts of felted materials dating back to 500BC! The characteristics of felt being strong but light, and water and wind-resistant at certain thicknesses made it the perfect choice for tents and clothing for nomadic groups.[ii] 

Neck warmer with button, detail, Cindy Obuck, (SCC Boutique).

There are many ways to felt wool, but there are two main distinctions: wet felting and dry felting. Dry felting requires the use of a felting needle, which has barbs cut into its metal shaft allowing the needle to snag and intertwine filaments.[iii] Wet felting uses heat, moisture, and agitation to turn the loose wool fibers into felt. For example, some artists compress the wool with soapy water, then roll the wool sheet in bubble wrap or thermal wrap, and use a combination of rolling, throwing, and kneading over hours to create a good quality dense felt: a very laborious process![iv]  It’s important to note that “felting” is quite different from “fulling.” Felting uses raw wool, while fulling is a process applied to wool that has already been treated in a particular way; fulling is the process of fluffing up an already woven or knitted piece of woven cloth, while felting does not use any sort of weaving process for initial structure.[v]

Cindy Obuck, a professional craftsperson with the Saskatchewan Craft Council, was always interested in art but never investigated it outside her qualifications as a graphic designer until discovering felting. Self-taught, Obuck mostly uses welt felting and needle felting, and even quilting techniques to create her unique wall hangings and wool sculptures.[vi]

“Anemone Delight,” Cindy Obuck, 2013 (cindyobuck.com).

“Prince,” mONsTer pODs, Cindy Obuck (cindyobuck.com).

Obuck has a sensitive approach to her work, creating subtle variations in tone and hue. The range of her work is impressive as well, from comical monsters to beautiful neck-warmers with buttons, and sturdy purses with leather straps. Despite the various incarnations, each piece Obuck makes incorporates her signature whimsical style.

Neck warmer with button, Cindy Obuck (SCC Boutique).

If you are interested in purchasing one of Cindy Obuck’s pieces, or seeing what other fabulous work we have in store, please visit the SCC Fine Craft Boutique, located in the Saskatchewan Craft Council’s Affinity Gallery at 813 Broadway Avenue, Saskatoon, SK.

[i] strongfelt.com
[ii] Amanostudios.com
[iii] strongfelt.com
[iv] Amanostudios.com
[v] Fuzzygalore.biz
[vi] Cindyobuck.com

The Aftermath

Submitted by Cathryn Miller: Professional Craftsperson: Paper

I have been a professional craftsperson for almost forty years, first as a weaver, most recently as a book artist. Over those decades people have frequently said to me “You are so efficient!”  and “You must be so organised!”

I have a dirty little secret: when pushed to meet deadlines, I stop cleaning up.

There was a massive amount of work involved in producing the pieces for Word View. Although it was spread over a period of about three years, the last four months were intensive — working seven days a week, often ten or twelve hours a day. During that time I also met a number of other deadlines.

But I did not clean up! Things got left on the floor or piled on one of my worktables.

This resulted in spaces that looked like this

and this.

I am spending this week clearing and sorting and filing and throwing out.

I calculate that it will take about one full workweek to eliminate the incredible mess, but I also estimate that I would have spent at least three times that many hours if I had kept things ‘tidy’ as I went along, hours that I really didn’t have.

It takes a certain amount of intestinal fortitude to work in spaces that look like the aftermath of a tornado. It also takes a good memory: I last saw the scissors ... ?!

I don’t actually recommend this as a regular approach to the maintenance of a studio space, particularly if you work with potentially hazardous materials, but it has worked for me.

Can anyone tell me where I left the shovel?

Cathryn's exhibition "Word View" can be seen in the Affinity Gallery from September 27-November 9, 2013. Reception Friday November 8, 7-9pm.

The views in this article do not necessarily reflect the views of the Saskatchewan Craft Council.