our craftmakers . wood turning . wire . bark collage . tin
Chicken in the Window . recycled tin work
Charlotte Drake-Brockman and Fran Wachtel.
What do you do when you cross a fibre artist with a ceramicists? - 'Chicken in the Window' recycled tin work.
We met in Murrurundi in the 90's and have shared our creativity ever since, the result being the quirky recycled tin work for which we are known.
We both still maintain our individual practices while working together on metal murals, gateways, major exhibitions for regional galleries and private commissions.
Bev Doak . bark collage
Bark art is a craft unique to Australia. The bark used is usually from the Melaleuca (paper bark) tree, which is found throughout Australia.
The Melaleuca tree, commonly known as 'Paper bark', has many varieties and variation of texture. It is exciting to work with.
The bark can be as fine as paper, almost like lace, or covered with a dusty powder; or be like leather. There is also weather-worn grey, and bushfire black. I have trained myself in this art form, and use the bark as if I were painting a picture.
I work using tweezers as the pieces can be small, and the technique slow. Timber is a wonderful product with a sense of being alive, and I never tire of having this form of art on my wall.
Glenn Doyle . wirework
I began experimenting with wire as a sculpting medium six years ago. The wire and tools I use are of the same type used by farmers to build fences in rural Australia.
As there were no artists, to my knowledge, using wire in the way that I wanted to use it, I taught myself by trial and error.
I have exhibited my work in galleries in the Hunter Valley and Gosford on NSW's Central Coast. I have had my work on permanent exhibition in one Central Coast gallery since May '07, and am now very pleased with the opportunity to exhibit my work in the beautiful gallery of the Society of Arts and Crafts of NSW.
Natalie Fong . wire sculpture
I was introduced to wire work a few years ago and it quickly became an obsession.
I had experimented with different mediums but found that wire gave me the freedom to explore the effect of space in art while allowing me to incorporate meaning in the miniature.
I am interested in exploring the depth of metals and finding ways to manipulate its form to create different textures. I want to create sculptures that engage people on a more personal level, to have meaning beyond its physical form.
Jo Ann Hopkins . woodworker
I am a Sydney based woodworker and botanical artist. In 1998 I completed a 3 year course to qualify as a cabinetmaker.
For several years my work consisted mainly of designing and making bespoke furniture and constructing hand made boxes. During this time I pursued an interest in veneers and marquetry which I increasingly employed in my work.
In 2012 I participated in a master class with Silas Kopf, an internationally recognised marquetry craftsman. Since then I have focussed exclusively on marquetry boxes, using a variety of Australian and exotic timbers and veneers.
Michael St Clair . wood artisan
As a leading exponent of contemporary woodturning, I create one-of-a-kind sculptural vessels and artistic forms from Australian timbers.
I travel extensively to collect and then season many of this country's rare and coloured grained woods (coolabah, red, grey and white box, fibrous zanthorrhoea - also known as grass tree or blackboy - huon pine, myrtle and desert myall, just to name a few).
However my most renowned work is in red river gum burls, where I exploit the natural grain edge or rim, incorporating gold-leaf and ebonising. I am exploring suspended bowl forms with ebonised rims.
Neville Wostear . wood craftsman
I am currently crafting a small hand-held harp which I call a Lyric Harp. Ongoing refinement and development is continuous in the endeavour to achieve the perfect sound.
This requires the careful selection of the various elements included in the crafting process, in particular the species of timbers. Specialist jewellery and document boxes also form part of my woodcraft.