Rikyu

[mark sanger]

Hi all

This piece I have been working on for a while. It has taken some time as I could not make the finial as fine as I wanted out of wood and until I started playing with polymer clay could not realise the design.


There is much behind this piece with references to various Japanese philosophies.

Keeping it short this piece is reflective of my research carried out within the tea Ceremony and at the time before a chap called Rikyu changed the way it was seen.

Prior to Rikyu the tea ceremony was a very elaborate prestigious, elitist ritual where by the utensils were very elaborately made, highly polished, including metal/gold etc.

When Rikyu came along he strip it all away and changed it to a much more simpler system using natural materials such as bamboo for the utensils. Despite him upsetting his Master who thought he was challenging his authority and demanded Rikyu's suicide. Poor chap.

Anyway this piece is a reflection of the time before Rikyu and how everything is impermanent and eventually rots/returns to its original state. Even the highly polished and revered falls to this eventually.


This piece aged to show this decaying. 150mm dia x 150mm high

Sycamore. Stained using artists pigments.
Gold leaf, copper leaf,
polymer clay,
brass bead

Various techniques.
sat on a slate plinth.

Comments welcome.

 

[Gitface]

Hi

I like that, it really has got that aged look and I like the colour.

Mark.....

 

[George Foweraker]

I have seen it in the flesh and it is beautiful.
Well done Mark.

Regards George

 

[Lightweeder]

Absolutely beautiful - finial a bit scary though.

 

[skeetoids]

This is a lovely piece Mark and a very thoughtful design process as it's foundation.

能ある鷹は爪を隠す。
Nō aru taka wa tsume wo kakusu.
Literally: The talented hawk hides its claws
A wise man keeps some of his talents in reserve

 

[mark sanger]

Hi all

Thank you for the comments.

Lee

Thank you. I do keep some of my talents in reserve. I juggle at the weekend.

Not making light of what you have said. You are right, of course.

 

[skeetoids]

Hi Mark,

I really like your approach to your work as it's very much thoughtful and considered. It really adds to your work for me as I can imagine your thoughts contained within the work.

As a thought, do you fill your hollow forms with anything (apart from your cognitions that is) or do you keep them hollow? The reason I ask is that I never see the inside of your forms, or anyones for that matter. I consider the hollow part of your form to be absolutely vital to your creative skill, if you don't mind, could you do a pic of the inside of one of your forms?

It's a bit like only seeing the bottom of a bowl!

Cheers.

 

[mark sanger]

Hi Mark,

I really like your approach to your work as it's very much thoughtful and considered. It really adds to your work for me as I can imagine your thoughts contained within the work.

As a thought, do you fill your hollow forms with anything (apart from your cognitions that is) or do you keep them hollow? The reason I ask is that I never see the inside of your forms, or anyones for that matter. I consider the hollow part of your form to be absolutely vital to your creative skill, if you don't mind, could you do a pic of the inside of one of your forms?

It's a bit like only seeing the bottom of a bowl!

Cheers.

Hi Lee

I will try to photo the inside.

My hollow forms are hollowed out to a wall thickness around 6mm ( not that the thickness is that important other than seasoning) but the feel of balance is what I am after more over the thin wall. )

I sand the inside of the forms down to 240 grit. I do not let them out of my work shop if there is any form of tear inside. they all have to be finished.

I sometimes stain the inside black but more often than not I just leave them natural. I will do my best with a picture for you tomorrow.

 

[Philly]

Wow! Wonderful Mark - the kind of piece I could look at forever. Don't want to make a second one for me do you? :lol:
Keep up the great work,
Philly

 

[The Shark]

Hi Mark,
Another wonderful piece!
I find it very interesting to read your thought processes behind your designs.

Malc

 

[Santos]

Another spectacular piece mark, beautiful without question. Really enjoy your Japanese forms, always very thought provoking for me.

 

[johnny.t.]

Mark, of all your really nice pieces I've looked at pictures of this one stands out from the rest as the nicest piece of your work I've seen to date. It is a true work of art and you should be very proud of what you have created here.
The finial and matching gold leaf panel set it off beautifully, the aged look and coluring are fantastic.It looks like it could be centuries old,cared for but very old.
It is very interesting to me what the slate plinths do for your work, both on this and the last one,they seem to set up the eye to appreciate the piece so well.

JT

 

[mikec]

Hi Mark,

Another piece up to your usual standard and very interesting and thought provoking. All your materials blend together very well, the original form of the material eg wood, clay etc seems to be of little consequence once they are combined. The emotional impact of the piece becomes more important than the parts. I don't know how to explain my reaction to your work any better than this.

I think you have achieved your aim and in the process produced something beautiful.

Regards,

Mike C

 

[Paul.J]

Beautiful piece Mark

 

[Jenx]

Absolutely stunning Mark, -- as always ! 8) 8)

 

[gasmansteve]

Lovely piece Mark
bkra shis mdzes ldan
(Auspicious beauty) :lol:
Steve

 

[frugal]

I sand the inside of the forms down to 240 grit. I do not let them out of my work shop if there is any form of tear inside. they all have to be finished.

Having seen some of these in the flesh, how on earth do you sand the inside of something with such a small neck?

PS. Another beautiful piece. SWMBO dabbles in polymer clay so I know how much of a skill that is to make it look that impressive. Have you considered PMC? When it is fired it ends up with a high enough silver content to be hallmarked.

 

[mark sanger]

Hi all

Thank you for your comments. I am pleased that you like it.

Johnny

The slates plinths I started using a while ago. As you say they set the piece up to be viewed.

The work I make is purely aesthetic and as such I am always looking for ways to make it more " special" for want of a better word.

I am always researching and observing other disciplines to see how my work can be refined and this was one of those ways.

I also like to include the slate as it is a cold hard material that contrasts with the wood well. using different materials also I hope gives the onlooker and hopefully potential purchaser more interest both through texture/materials and visually to give it added value.


I am happy to say that it has been sold to a fellow turner who now has several of my pieces.

Thank you all again

 

[mark sanger]

I sand the inside of the forms down to 240 grit. I do not let them out of my work shop if there is any form of tear inside. they all have to be finished.

Having seen some of these in the flesh, how on earth do you sand the inside of something with such a small neck?

PS. Another beautiful piece. SWMBO dabbles in polymer clay so I know how much of a skill that is to make it look that impressive. Have you considered PMC? When it is fired it ends up with a high enough silver content to be hallmarked.

Frugal did I not show this at the demo. Perhaps I did not.

I use a 200mm drill extension into which I fit a cut down 1 inch hook and loop arbour. It is cut down to around 20mm which just fits inside of the hole.

The extension is rested on the tool rest and the inside sanded using a power drill. Before this I scrape the inside.

 

[George Foweraker]

Hi All

I am pleased you all like this piece as i am the new proud owner .
This is four pieces of Marks i have now they are in a display cabinet in our lounge.

Regards George