“WE ALL BELIEVE IN HOME” references the hope and shelter that Habitat provides along with a sprinkling or why Manitoba is unique on a national and international scale.
41 layers of elm, ash, spruce and oak build upon each other, the shapes being abstracted beluga whale forms. The layers also recall the Tower of Hope in the Canadian Museum of Human Rights in Winnipeg, Canada’s only national museum outside of Ottawa. We follow the pattern as it rises, the journey is convoluted−like life.
Pieces of elk and deer antler arise from the cracks and gaps, seemingly in a random fashion. Only by standing back and looking at the whole piece do we see that there is a pattern to the antler pieces as they rise to the apex, as does hope.
Colors and thicknesses vary, textures modulate and shapes protrude. The 6 pieces of birchbark sewn together into a pair of wings symbolize the shelter we all seek−that place we call home.
Polar bear footprints and 10 abstract representations of beluga whales swimming through the waves at the mouth of the Churchill River remind us that our home is the only prairie province to have a saltwater coastline−a world capital for beluga whale and polar bear watchers.
Manitoba is in the middle of nowhere and the heart of everything−the place we call home.
WE ARE SO IMPRESSED BY HABITAT THAT WE DECIDED TO DONATE A HOUSEWARMING GIFT TO EACH OF THE 25 HOMEOWNERS OF HOUSES BEING BUILT IN MANITOBA. BELIEVING A PIECE IS INCOMPLETE UNLESS SHARED, EVERYONE IS VERY EXCITED ABOUT THIS OPPORTUNITY.
For a short documentary about the piece in French:
If you desire something unusual and special, then cruise our galleries (both sold and available) to see what our inspiration, philosophy, and creative thought has produced.
–we believe our pieces can function at an art level because they address issues, explore concepts and express thoughts.
–they are unique, one-of-a-kind and personal. We try to blur the line between utility and art.
–we use the language of visual expression–color, texture, composition–to create items that are unique in design and singular in execution.
The sections of thick wood maintain their live edge to enhance the organic nature of the tabletop while showcasing the grain and coloration of the Manitoba maple.
The juxtaposition of natural wood with sleek glass and metal makes this table into an exceedingly elegant, light composition.
The different tones in the wood are highlighted by the copper color of the table base, the benches and the chairs.
Six comfortable transparent acrylic chairs with custom powder-coated bases and fittings flank the table to provide comfortable seating, retain a clear view of the beautiful edges of the wood and maintain the elegant, modern aspect of the ensemble. They also complement the glass.
Using metal for the base allowed me to design an elegant table with lots of leg room. The modern look of the chairs, base and benches form the counterpart to the thick, natural wood. This gives the suite a dynamic presence.
Additional seating for four is provided at the ends by two custom designed upholstered benches. Our metal division fabricated both the table base and the bench bases. Notice how perfect the welds are—it looks like the pieces grew that way!
Depending on how the light hits the easy-care upholstery, it is either the color of milk chocolate or dark chocolate. The darker tones of the ultra-suede fabric complement the brighter tones of the copper powder-coated legs.
The benches were designed for comfort first and by using metal, I was able to make them appear to float at the ends of the table. Their design and low height allows one to see through it and will support one’s back (whether you are 5’2” or 6’3”).
The finish on the table is tung oil. It provides a protective finish while giving a lot of depth. Professor Norm Kenkel, a biologist at the University of Manitoba, reminded me of another reason to use it:
“Tung oil is an environmentally safe and sustainable wood finishing product.” There are reasons why tung oil has been used as a wood finish for thousands of years. It’s great stuff. For a traditional pure oil-rubbed finish, it’s the only game in town.”
Tung oil may have been in use as far back as Confucius’s times (circa 400 BC). The Chinese ship industry has been known to use tung oil in the protection and finishing of wooden ships in the 14th century.
The suite includes the table, 6 chairs, 2 benches and 6 LED candles.
Table: 107cm W x 245cm L x 74cm H(42”W x 96.5”L X 29”H)
Benches: 107cm W x 50cm D x 74cm H(42”W x 20”D x 29”H)
Chairs: 55cm W x 56cm D x 82cm H (21-5/8”W x 22”D x 32-1/4” H)
**WE WOULD BE HAPPY TO TALK WITH YOU ABOUT CREATING ANYTHING! WE BOTH ENJOY THE CHALLENGE AND REWARD OF TRANSLATING YOUR INTERESTS AND LIFESTYLE INTO A COMMISSIONED PIECE THAT REFLECTS YOU.**
“…a greater contingent of homegrown designers both established and emerging is not only finding success in Canada, but forging a national aesthetic based on attention to materials, robust lines, cheeky humour and a marked eco-consciousness.”
-Danny Sinopoli, The Globe and Mail
“…individuality and singularity implies rarity, which breeds desire”
Marketing is always a challenge whether you are a big company or not. Therefore, at the end of 2017, we have decided to move to the deep web. Don’t get this mixed up with the dark web, that part of the worldwide web that is only accessible by special software and where all the criminal activity takes place, causing formidable challenges for law enforcement agencies around the world.
The deep web is totally legal, it’s just not discoverable by means of standard search engines, we have to give you the website.
Why would we move to the deep web? We have a NICHE MARKET–A LOCAL DEMOGRAPHIC. Having had a website for six years, we have found that perhaps it’s not the best way for us to market.
We have never allowed comments on this website, but we still receive countless emails from people who say they love our work. It is very flattering to have people favorably comment but since we only produce a small number of pieces per year, and a lot of our work is by commission, we seem to be spending more and more time answering fan mail!
Also, we don’t tweet, we don’t link, we don’t like, we don’t follow. Nobody could tell us the advantage of joining any social media. So, think of us as the web equivalent of a “by appointment only” business–as in serious inquiries only.
Our goal is to create pieces that blur the line between utility and art using native woods and antler.
If you would like to continue viewing our work after we shut down the website at the end of 2017, simply go to Contact Us and send us an email. We thank you in advance for this opportunity.
Everybody gets in a slump from time to time. I find that after I finish a piece, I develop a hesitation to start a new one. Maybe it is the abrupt change from finishing one piece and having to start with the planning and rough carving that attends the commencement of new work. Whatever the reason, I usually find myself in a slump after I finish a piece, a reluctance to start something new. Luckily I live in a style where there is usually something to do to occupy myself till the enthusiasm returns.
Ideas for new work, on the other hand occur when least expected and often in bunches. While working on something entirely different, an idea for an excellent piece may show up, or it may occur when I see something around the place, or am reading about something else. I keep a list of ideas written down so that when I am ready to start something new, I can decide from among several options. The list of ideas can also serve to build enthusiasm for starting new projects.
So this last slump was a double whammy because I had just finished a string of several projects and had used up all the items on my list. After completing all the spring work around the place, I was looking to keep my skills up, but didn’t have any ideas, nor was I really enthused about starting a new project.
In the past, I’ve worked on some small projects – little things – to keep the carving muscles in shape. One such activity that I like is to make leaves and feathers. I find they are often useful for inclusion in other projects later and are also nice things to give guests – particularly to kids. While making some leaves, one of the pieces of antler I selected had a flaw in it (not unusual) that resulted in a couple of weak spots – holes – in the leaf. In a case like this, one can either scrap the piece or incorporate the flaw into the design. I chose the latter and decided carve some caterpillars and attach them to the leaf to make it look like they were eating it and making the holes. It turned out kind of nice for a little project, but I felt that, to be honest, the caterpillars should have been carved from the same piece as the leaf. Glueing them on after is the easy way. Thus resulted in the next project.
I selected moose antler because it was flat and not to thick and proceeded to make two pieces – each a leaf that looks undisturbed from above, but underneath holds three caterpillars hustling over the surface and borrowing into the folds of the leaf. One would think that the difficult part would be the carving of the caterpillars themselves, but they were relatively easy. The hard part was making the underside of the leaf. Why? Because after the caterpillars were carved, the surface remaining had to smoothed until it looked like a leaf – and there were those caterpillars in the way. This involved a lot of sanding using a stick to hold a small piece of sandpaper. The after the surface was smoothed, it had to be carved to look like the underside of a leaf – i.e. the veins had to be carved into the surface, or in one case, the veins had to left in relief whole the rest of the surface was reduced.
The pieces turned out better than expected – for an unexpected reason. The center of a moose antler is spongy like all antlers. Some parts are very spongy with relatively big holes. Other parts are quite dense and can be carved. I choose pieces that were dense in the middle and the unexpected benefit was that when finished, the middle material turned darker than the outer material. Since the caterpillars were all carved from the inner material and the leaf surfaces all carved from outer material, the result is dark caterpillars crawling on a lighter leaf surface.
The caterpillar project got me thinking about how objects could be carved onto the surface of other objects and the wide variety of potential projects that could be realized using this technique – and the idea list is again growing.
This montage style piece explores the concept of the garden and orchard. We are led to believe that these are places of peace and tranquility. To reflect this, the piece contains representations of walnuts, almonds, acorns, pistachios, peanuts, Manitoba maple seeds, strawberries, peas, asparagus, green onions, carrots and soybeans as well as numerous leaves. However, as every biologist, gardener and tree grower knows, the natural world is a battleground between the plants and the things that want to eat the plants. To this end, if you look closely, you’ll notice a number of creepy crawlies nestled in among the plant matter. Some you’ll recognize, like the caterpillars, nut, worms and snail. Others are less known, like the almond beetle, the land scallop, the asparagus ant lion, a peanut caterpillar, the onion lasso worm and the rarely seen predatory parsnip.
This piece is made from many, many pieces of elk, moose and deer antler as well as a few tagua nuts. The walnut, one almond and the soybeans with snail are removable for handling. The realistic renderings are interspersed with abstract shapes reminiscent of plants or plant parts. The various pieces are displayed on a backdrop of carved moose antlers and mounted on a base of Manitoba Maple.
51 cm W x 38 cm H x 18 cm D
20″W x 15″H x 7″D
As a biologist, I try to make my pieces as detailed and correct as possible. For flowers and animals, it is fairly easy to study specimens and pictures and determine the correct number size and shape of constituent parts. Then I attempt to model the parts and put them together, or else I try to carve the parts into the larger piece. Some skill is of course required to convert visual observation into a physical piece. But once the parts are completed and in place, you can usually tell when you are finished.
Abstract pieces are another thing altogether. This work-in-progress is entitled: Nuts and Roots and Seeds and Shoots. First, there is no model to measure and compare with. In fact, for original abstract ideas, there is really nothing to start with, except an idea in your head. Further, you never know when you are finished. The idea in your head is a starting point, but once it becomes translated into a physical thing, there are always other things that can be added, subtracted or modified to improve on the idea. Basically, you continually work on the piece until something inside says, “that is finished!” In a few abstract pieces, I’ve kept working on it until I’ve gone one step too far and then decided to remove or repair that last addition, subtraction or modification. But even then, for several weeks, every time I looked at the completed piece I wondered if there was something else I could do to improve it.
An abstract piece does have the advantage of being more open for discussion. People seeing the piece before or after completion will often give ideas, comments or criticisms. These are all very welcome because their comments are based upon their view of the idea behind the piece–a view that is just as valid as mine was when I started. Comments on a realistic piece are much more limited: “that looks like the real thing”, -“his nose looks too long”, etc. Abstract pieces allow a person to provide more input from their own frame of context and can engage a person more fully.
For other abstract pieces already completed, see Cornucopia and Orchids (under Miscellaneous in older posts or in Gallery )
This type of iris plant in full bloom is called beardless because the styles of the flower lie flat upon the petals as opposed to the more common type of iris where the styles are more filamentous, or bearded.
The iris flower is one of the more complicated to carve because of the many pieces it is composed of and the curved flowing nature of its parts. The leaves are relatively simple, but a lot of leaves are required to make the sculpture look realistic. So, this piece required considerably more work than anticipated at the beginning. Nonetheless, the sinuous curves of the stems and leaves blend into one another such that, in some lighting situations, the sculpture almost looks abstract.
Two flowering stems with auxiliary buds rise from a mass of leaves mounted on a birch base. The flowers and leaves are carved from deer, moose and elk antler.
38 cm H x 24 cm W x 21 cm D
14″H x 9“W x 8″D
We see them all the time, stuck up in corners of the garden shed or under the eaves of the house. Usually we are quite surprised to see them because they appear so suddenly. One day, nothing, then seemingly the next day there is buzzing around your ears and a wasp nest above you.
Nonetheless, we are still interested in the nests, their papery delicacy and the bustle of the insects crawling over and through it. This piece allows the observer to handle the nest without the danger of the stinging insects. The nest rests partially hidden below a branch, a world unto itself, wanting only to be left alone.
The wasp nest is made from a single piece of moose antler. Five wasps are carved on its surface, again from the single piece of antler, so that the whole is durable and meant to be handled. The nest hangs from a branch which, with its three leaves are all carved from elk antler. The nest attaches to the branch by means of a hidden magnet, so it can be detached for handling.
12cm W x 11cm D x 7cm H
5″W x 4.5″D x 2.5″H
Caterpillars crawl on the underside of a leaf. From the upper side, the leaf looks undisturbed, but when turned over, there is a hustle and bustle of insects stuffing themselves so they can become adults. Are the insects any less perfect than the leaf itself? Does their presence make the overall piece seem less serene? It is all in the eye of the beholder.
In actual fact, the purpose of these pieces is to provide a wish for true gardeners and plant aficionados. Every year, just when the plants are looking their best , along comes some bug or worm or fungus to disrupt the growth of the plants. If only the power of those invertebrates and fungi could be harnessed for good instead of evil. Thus, we return to the true underlying meaning of these pieces: May the tent caterpillars eat the weeds in your garden.
Each of the pieces is carved from a single piece of moose antler. The darker color of the inner antler material results in darker caterpillars crawling on a lighter leaf surface.
Two life-sized dragonflies carved from elk antler sit atop a box also made of elk antler. The box is made from a single piece of clear white elk antler that has been sliced lengthwise, then hollowed out so that the top and bottom pieces match.
The box halves are carved thin enough for light to pass through. The insides of the box halves are finished with beeswax giving it a honey scented interior. The dragonfly wings are also carved thin so that light can pass through them. The dragonflies perch atop the box on legs made from spring quality stainless steel.
15cm W x 10cm D x 8.5cm H
6”W x 4”D x 3.5”H