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Technologies of wood processing.
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Before processing wood it is necessary to find suitable natural materials in
which shapes it is possible to see artistic images, then manufacturing of forest
sculptures consists in revealing of imaginative plans of the nature without
changing of original images which are incorporated in natural materials.
It is necessary to clear the firm pitch layers of wooden tissues from rotten wood
in old tree roots. For this purpose it is possible to use iron brushes and
various knifes without sharp blades. Namely
knifes should be not sharpened at initial processing of natural materials, that
knifes could not cut firm wood layers in old tree roots but could remove rotten wood.
Sometimes it is possible to use a saw and bench axes to remove unnecessary large
fragments of tree roots and to keep only necessary shapes of a future forest sculpture.
When the rotten wood is removed it is possible to wash the found tree roots with
water or with a strong jet of water that the fine dust of wooden tissues do not obstruct to
perform the future art work, and do not spoil textures of sculptural shapes.
After that the found and primarily processed tree roots are necessary for drying.
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The further methods of wood processing depend on
personal skills and art ideas of these or those artists and sculptors,
but in any case conceptual art tasks of sculptors consist in keeping primary natural images and
original shapes of forest sculptures. To change initial natural shapes and original forms of the nature it is possible only if such corrections are justified for reasons of artistic ideas which do not deny art concepts of forest sculptures in a context of the fine arts. Further for wood processing of dry tree roots it is possible again to use various iron brushes or knifes and cutters which in this case have sharp blades, but only when sharp cutting tools are really necessary for art work with natural shapes of forest sculptures. Namely in the case when wooden structures of tree roots and future sculptural images demand cutting wood processing. Some old roots of forest fir-trees have very firm wooden structures in pitch layers which can be processed by iron brushes, and some fir-tree roots have soft wooden structures which are necessary for wood processing by means of cutting tools. It means that soft wood structures are necessary for accurate cutting if it is necessary to clear surfaces and outlines of firm wood. For this purpose cutting tools should be ideally sharp. Besides sharp tools are necessary for corrections of inexact shapes which can be changed to form sculptural images of existing natural materials more precisely to animalistic figures of birds or other animals. When any artistic image of a forest sculpture is finally cleared it is necessary to reveal surface textures of wood, namely it is necessary to do surface wood processing by means of an emery paper. And after that it is possible to use different wood stains and other polishes due to which surface textures of wood get a desirable polish appearance. The photo shows the cleared but not processed root of fir-tree. |
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Then the forest sculpture should find any fixed position in space, and should be
fixed harmoniously. Namely it is necessary to install sculptural shapes on a
stand basis (pedestal) or to fix on any other basis which should form an art
composition together with an artistic image of a sculpture, that should
strengthen impression of natural wood and original tree roots.
In essence the basis of a forest sculpture should have a rough natural origin
but should be carefully processed. It is possible to suppose cracks and rough
breaks which emphasize spontaneity of natural tree structures during wood
processing.
Basis installations of forest sculptures depends on art plans of sculptors and
can seem insignificant, but nevertheless harmonious perception of artistic
images in many respects depends on correctly chosen basis.
Forest sculptures of this online gallery have bases installations which are
natural outgrowths and various stumps or other wood shapes of forests. And the shown
wood birds are fixed on pedestals by means of iron dowels and composite glue.
Suspension brackets in wall sculptures are made with copper.
In some cases the shown forest sculptures in gallery are made of several
tree roots which are connected by
composite glue and form uniform images. For example, one root has wings
and tail feathers but has no a head, and other root has shapes of a head which
in connection with wings and tail feathers can form an integral art image of a bird. Such
integral forest sculptures are less unique rather than sculptural shapes which made of one root
of a tree, but such integral animal images are justified from
the art point of view.
Among the shown sculptures in this online gallery there are two integral
fir-tree roots: PONIKNA (sad
bird) to which the head is pasted, and OSTROHVOST (sharp-tail bird) to which the
tail is pasted.
Also the integral sculpture is CVADRAKRYL which forms the four-winged bird.
Sometimes the used fir-tree roots have some fragile parts which are expedient for firming by
means of undistinguished wooden inserts during wood processing. Such inserts have no
disfigure values as tree roots are intact and has unique art value, but wooden
inserts are necessary to keep integrity of sculptural shapes.
The insignificant insert is used for strengthening wings of the sculptural bird which is
named with poetic name as UTREN (morning songbird). This root is strong but it seemed to me that the
firm insert was necessary to protect from damage this unique wood shape.
In no event and under any conditions it is impossible to use a varnish. The
wood processing should be natural because application of a varnish makes forest
sculptures artificial.
If it is necessary to process and to protect wood surfaces from
influences, it is better to use not a varnish but other means. Namely
I have noticed that if to saturate a wood with glue "pva" (polyvinyl
acetate), which is dissolved with
water in necessary proportions, and by that to strengthen sculptural surfaces by
means of glue, and next if to saturate a wood with a alcohol based stain then the
effect of such processing reminds varnishing.
The birds KORSHUN (kite) and
KLUVEN (beak bird) in this online gallery are processed by means of such
way, but it is made because structures of wooden tissues of these fir-tree roots
in some parts are not equally firm. Therefore surface wooden tissues are
strengthened by glue. But surfaces of wooden shapes are open and has a natural
appearance in other forest sculptures in this art gallery.
The listed technologies of wood processing are applicable to roots of fir-trees as
I use this natural material for manufacturing of forest sculptures, but really each artist or sculptor
can use own methods and technologies of art works.
Information on different kinds of forest sculptures and various
methods of wood processing can be published on this
website if such information will be necessary to publishing.
And also I can publish links on other websites or online galleries where methods
of manufacturing and
art principles of forest wood sculptures are published.