Wednesday, June 3, 2015
Thursday, June 12, 2014
ORCAS IN THE PASSAGE
Well...I've just completed the final protective sealing coat on my second stone carving, "Orcas in the Passage". Project complete. I am incredibly excited to continue the exploratory adventure of carving stone. What a fabulous pleasure!
Orcas in the Passage is 21.5" diameter x 2.5" thick, carved into Indiana Limestone. I used the traditional "V" carving technique as taught to me by Tracy Mahaffey. I recently learned this technique while attending one of the worlds greatest stone mason, carver, sculptor events; STONEFEST.
This piece of work is inspired greatly by my life and location living in Victoria, BC, Canada on Vancouver Island. As well as my heritage, friends and family. It is with great pleasure to carve such lovely stone, gifted to me by some amazing people at Marenakos Rock Centre in Preston, Washington.
I feel this piece of stone art is meticulously rendered, with all "V' grooves terminating seamlessly at their deepest infinite points. WHAT? It's hard to explain until you've done this method, but the carving will create itself in some ways. It's only done when it's done. the grooves cannot be halted prior to their exact termination points. It won't look proper. Nor can the grooves go too deep. They won't keep their 45 degree angle without the top finished plane of the carving opening up beyond the desired shapes.
My first carving was done without any preconception, where the "V" grooves were used (with imagination) to create a symmetrical mandala in which the image itself lies within the "V' grooves, as you can see here.
Orcas in the Passage was done through a preconceived illustration before I started. It was also done in the reverse method, relief carving, where the image lies outside the "V" grooves at the plane of the stone. The preparation for this was simple, yet time consuming and you can see the whole process here.
Please enjoy the photos! I look forward to showing you my next piece. Good things come in 3's....
PEACE...
Saturday, May 24, 2014
Another method of preparing to carve stone
First, I begin with a blank piece of 12"x12" paper, compass, ruler and pencil. I find the centre of the paper. Using the compass, I draw circles radiating out to the edge of the page to use a guidelines. Starting in the centre of the page, (and using my imagination) I work my way outwards in symmetrical design to create a complete image. Once completed in pencil, I trace over it in .03 fineliner ink and erase all the pencil lines. I end up with an image such as this....
I then photograph it and using photoshop, add colour similar to the stones colour to see what I am working with more accurately. I get an image such as this....
The Indiana Limestone slab I want to carve is 21.5"W X 21.5"T, so using photoshop again, I split the image into 6 pieces and print each one to 1/6th of the finished carving size such as these...
Using a cutting matt, X-acto blabe, and ruler, I trim all the edges to get these....
Using cello tape, I then carefully tape them all together to get a full size copy of what I will carve....
I spent a while sanding down the face of the stone to remove any blemishes and saw blade marks from the machining process. (elbow grease) Once ready, I place graphite transfer paper on top of the stone and the full size image on top of the transfer paper....
Then they all get taped down into place. Using a pencil, I copy the lines on the image, which transfers onto the stone.
Once the pencil work is complete, I remove the paper and transfer paper from the stone and end up with this!......
And now, using a brass bell hammer and lettering chisels, I get down to some real work of slowly and meticulously removing stone to give the image I want.....
LOVE THE STONE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
I then photograph it and using photoshop, add colour similar to the stones colour to see what I am working with more accurately. I get an image such as this....
The Indiana Limestone slab I want to carve is 21.5"W X 21.5"T, so using photoshop again, I split the image into 6 pieces and print each one to 1/6th of the finished carving size such as these...
Using a cutting matt, X-acto blabe, and ruler, I trim all the edges to get these....
Using cello tape, I then carefully tape them all together to get a full size copy of what I will carve....
I spent a while sanding down the face of the stone to remove any blemishes and saw blade marks from the machining process. (elbow grease) Once ready, I place graphite transfer paper on top of the stone and the full size image on top of the transfer paper....
Then they all get taped down into place. Using a pencil, I copy the lines on the image, which transfers onto the stone.
Once the pencil work is complete, I remove the paper and transfer paper from the stone and end up with this!......
And now, using a brass bell hammer and lettering chisels, I get down to some real work of slowly and meticulously removing stone to give the image I want.....
LOVE THE STONE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Saturday, May 17, 2014
My First Stone Carving
This is my FIRST stone carving.
I attended STONEFEST 10, May 12-16, 2014 and decided to learn the completely new skill of Lettering. Carving letters in Stone. Upon learning, from Tracy Mahaffey - Stone Carver, I had the idea to carve a piece similar to my symmetrical mandalas I usually create in ink or paint.
This piece of work took 3.5 days to finish on a 21.5"W x 21.5"T x 2"Deep piece of Indiana Limestone that weighs approx. 100 lbs.
The two colours were achieved by sanding the face flat. Then, I mixed Whidbey Island clay, (being used to build a 1600's replica of an irish church outside by some other friends) with water. I filtered the clay and water through cloth to get a clean fluid that I then applied 3 coats with a cotton rag to get the darker area around the outside and the centre circle. I intentionally left the top of the piece raw where the stone broke when it was split to size for me. The curves almost matched the hills outside the location identically.
This piece has been carved in the traditional "V" groove method you would see on elegant gravestones or memorials. The back of the piece is carved with the title: FIRST, my name: daniel john poisson, and my signature logo: DP2014.
I was sent home with some tools and another 300lb slab of Indiana Limestone and I look forward to creating the SECOND. Thank You so much for all the instructor, mentoring and guidance everyone!
PEACE!
— at Marenakos Rock Center.I attended STONEFEST 10, May 12-16, 2014 and decided to learn the completely new skill of Lettering. Carving letters in Stone. Upon learning, from Tracy Mahaffey - Stone Carver, I had the idea to carve a piece similar to my symmetrical mandalas I usually create in ink or paint.
This piece of work took 3.5 days to finish on a 21.5"W x 21.5"T x 2"Deep piece of Indiana Limestone that weighs approx. 100 lbs.
The two colours were achieved by sanding the face flat. Then, I mixed Whidbey Island clay, (being used to build a 1600's replica of an irish church outside by some other friends) with water. I filtered the clay and water through cloth to get a clean fluid that I then applied 3 coats with a cotton rag to get the darker area around the outside and the centre circle. I intentionally left the top of the piece raw where the stone broke when it was split to size for me. The curves almost matched the hills outside the location identically.
This piece has been carved in the traditional "V" groove method you would see on elegant gravestones or memorials. The back of the piece is carved with the title: FIRST, my name: daniel john poisson, and my signature logo: DP2014.
I was sent home with some tools and another 300lb slab of Indiana Limestone and I look forward to creating the SECOND. Thank You so much for all the instructor, mentoring and guidance everyone!
PEACE!
Tuesday, December 25, 2012
MOTHERS & CHILDREN: beyond the centre of our universe
Beautiful, focussed, colourful, together, united, central, balanced, real.
This series of 12 pieces has 3 reasons for conception:
1) intention towards acceptance of Mayan transitions from over 15 years of reading about and visiting Mayan historical sites and to build my personal energy leading up to December 21-23, 2012.
2) acceptance of 12 months of our modern calendar year.
3) I began this series in November 2012. December 22, 2012 was the due date of my first child, and so I worked on this series every day until December 21st. 2012. I wanted to solidify my personal understanding and acceptance of the importance of the human females in my life.
The designs are original from my imagination, working beyond a central point on the canvas. Working from where "I" am outwards to where "everything" is. Meticulously rendered and as vibrant as life! I decided to work on a piece for every colour of the rainbow. I felt that each "mother" piece (24"x24") was in need of a more abstract "child" (12"x12"). As in life, I consider all women, Mothers, but not all Mothers have children. Every Mother and every child is equal in their unity of the whole of the rainbow. I believe the survival of our species here on Earth will be dependent on our acceptance of this important and fundamental aspect of Humanity.
And so...beyond the centre of OUR universe we go!.....
This series of 12 pieces has 3 reasons for conception:
1) intention towards acceptance of Mayan transitions from over 15 years of reading about and visiting Mayan historical sites and to build my personal energy leading up to December 21-23, 2012.
2) acceptance of 12 months of our modern calendar year.
3) I began this series in November 2012. December 22, 2012 was the due date of my first child, and so I worked on this series every day until December 21st. 2012. I wanted to solidify my personal understanding and acceptance of the importance of the human females in my life.
The designs are original from my imagination, working beyond a central point on the canvas. Working from where "I" am outwards to where "everything" is. Meticulously rendered and as vibrant as life! I decided to work on a piece for every colour of the rainbow. I felt that each "mother" piece (24"x24") was in need of a more abstract "child" (12"x12"). As in life, I consider all women, Mothers, but not all Mothers have children. Every Mother and every child is equal in their unity of the whole of the rainbow. I believe the survival of our species here on Earth will be dependent on our acceptance of this important and fundamental aspect of Humanity.
And so...beyond the centre of OUR universe we go!.....
the Mothers and Children family portrait
"Moon Mother with children" - acrylic
"Earth Mother with child" - acrylic
"Sun Mother with child" - acrylic
"Soul Mother with child" - acrylic
"Forest Mother " - acrylic
"Heart Mother with child" - acrylic
PEACE!
Created by Daniel Poisson - 2012
Wednesday, September 19, 2012
"CAN'T BE NO BITCH ASS OUT HERE, DUDE!"
I'm never one to shy away from the opportunity to go somewhere exciting, try something new or experience something different.
I answered my ringing cell phone.
"HI MARC!" I exclaimed, "it's been a while, what's new?"
"Well Dan" he replied "it's been 15 years that I've been asking you to come up to Alaska and do some fishing with me. What are you doing?"
Before I thought of what my prior commitments were, I shot back, "coming to Alaska, of course!?!"
So that's when it all began. I spent the months prior to departure preparing my camera gear, clothing and travel arrangements. Such a dream! The week prior, I had replaced my aged DSLR camera with a nice, new DSLR. What better opportunity to test it out than the middle of nowhere in Alaska. Marc has always known I was an artist and photographer, and here he was, willing to set me up with a source of income (salmon fishing), a place to live (a remote cabin in the boonies) and all the scenery and wildlife I could imagine.
PERFECT!
We flew to Juneau Alaska first. There, we loaded supplies such as fuel, food and survival necessities into open-top, flat-bottom, aluminum river skiff boats. The trip to camp travels up the Taku River Inlet south of Juneau Alaska, through rough waters, pounding rains, chopping seas and frigid glacial air. We continue through Alaska up the Taku River into Canadian waters, A small, unique commercial salmon fishery occurs there, where less than 30 people work like mad men over their small operations. The cabins are simple. The lifestyle is rustic. There is only generator power or none at all. Gasoline must be strained for water and wood is chopped for warmth. Sleep?...sleeping bag. I was told upon arrival, after being blown away at the shear epic proportions of the trip to camp that "you can't be no bitch ass out here dude!" THIS was gonna be an adventure!
The fishing is done completely by hand. The nets are built and mended with twine and needles. The gill nets are small and set into the river over the side of a small skiff. When each short drift down the current is completed, the nets are pulled into the boat by hand. The fish are caught in small quantities between 0-25 pieces. They are picked out of the pile of netting on the bottom of the boat one at a time. It's A LOT of work. Each Salmon is dressed immediately (gutting and cleaned) before putting onto ice in large cooler totes. Daily we would deliver the fish to the landing station set up by the local First Nations Company, Taku Wild. From there, they would count and transport the product by jet boat to Juneau or float plane to Atlin BC. Sometimes, if supplies were running short, we would deliver a 1000 pounds to Juneau Alaska in our own boat. A long, cold trip exposed to all the elements. We fished 14 hours a day, cleaned boats, fixed cabins, repaired motors and nets, and slept in the slime the fish left on us.
I was gone from home for over 2 months and although the trip was incredible, exhausting, frustrating, gorgeous, tiring, hilarious, demanding and easy.....I have to say WHAT A PERFECT OPPORTUNITY TO TRY SOMETHING NEW AND LEARN A GREAT SKILL ALONG THE WAY.
What a trip!
Here are some photos of the trip...
CONTACT: CODEOFCREATION(at)GMAIL.com
CONTACT: CODEOFCREATION(at)GMAIL.com
WEB: http://codeofcreationphoto.com/
*all images copyright Daniel John Poisson-2012. No prior permissions granted.
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