Nate Davey
03-20-2011, 8:32 PM
This is going to ramble a bit, kind of how my mind "works" so if you want to skip ahead to the question go to the second paragraph.:D I was out in the garage today taking a 6" dia x 8" piece of Osage down to a tooth pick. I wanted to try a two part turning like David and John K. do with a pedestal and form atop. I got the general shape of the form then cut my tenon and got the pedestal blank on, matched the curves and then decided I wanted to adjust the shape of the form just a little. This is where the wheels came off and I ended up with a yellow tipped dowel. As I was furious with myself for not stopping and taking a step back, I looked and saw an osage scrap I had turned into a cone for my tail stock and notice it had turned brown with age. This started me thinking about Raffans book and how he mentioned over time beautiful graining, spalting and such go away over time and leave you with the form. Which started me thinking about a piece of art we had commissioned for our shop at work and the artist insisted we get UV protective glass so it wouldn't fade.
So, do you artist who sell your work recommend to the collector to protect the pieces from UV, do they already know this or will it matter at all? Is it just a matter of time, decades, that the interesting colors fade into the wood work:D and you're left with only the form????
Sorry for all that, ADD is a heck of a drug.
So, do you artist who sell your work recommend to the collector to protect the pieces from UV, do they already know this or will it matter at all? Is it just a matter of time, decades, that the interesting colors fade into the wood work:D and you're left with only the form????
Sorry for all that, ADD is a heck of a drug.