AFRICAN TAPESTRY SERIES
The African Tapestry series, which is my second major body of work, concentrates on the animals of Africa and is devoted to their physical rather than spiritual attributes. This work focuses on the magnificent patterns found on the coats, hides and feathers of Africa’s wildlife, in addition to those patterns created by her human inhabitants. Each piece is devoted to one animal and is issued in limited editions of 25 platters. Although the central theme of each piece is identical, patterns, colors, and textures may vary between pieces. Platters are 19" in diameter and are issued with a custom designed handwrought iron stand.
Technique
Prior to any actual cutting of glass and kiln work, preliminary design sketches are done. The center area which focuses on the individual animal is created by drawing the image in pen and ink. From this drawing, I create a silk screen. The same method applies to the animals coat pattern.
Each piece goes through three to four firings in a kiln at temperatures ranging from 1500ºF to 1150ºF. In the first and highest firing, the basic shape and color of the piece is created. After the first firing, the sandblasted images located at the top and base of the platter are created. For these sections, each design shape and element is hand cut in resist (a tacky backed rubber product), which is placed on the glass and then sandblasted. The silk screen images are then placed over appropriate areas and enamels or lusters are airbrushed through the screen. Dichroic glass details are cut, placed and added. The piece then goes through another firing, and perhaps an additional firing after this, if more design elements are necessary.
In the final firing, the gold, copper or silver is painstakingly added by hand in areas to highlight the animals coat detail and in areas accenting the border design. The piece is then placed in a stainless steel mold and slumped to it’s final form. Upon completion, the handles are then wire wrapped utilizing gold, copper, or silver wire with ethnic or glass beads.
Design Interpretation
Zebra - The first animal for this series, I chose to do a basic head study highlighting the lovely coat pattern and profile. The top and bottom scenes were inspired by a Kobus Moller painting and show the territorial fight between two stallions. The border of dichroic glass represents a Kente cloth pattern.
Giraffe - This series is all about pattern and texture. The center features a head study highlighting the elegant coat pattern of the Giraffe. Since the Giraffe lives in the Savannah grasslands South of the Sahara, I tried to replicate textile patterns and designs from that region. The top and bottom areas (above and below the Giraffe’s head) feature a central image of a male figure from the Dogon people of Mali. This is a type of mask which is imbued with supernatural powers of ancestors and of nature spirits. This mask figure is surrounded by a cloth pattern that imitates frescoe paintings of Nigerian women. The giraffe’s coat pattern is found on the right and left side of the platter, and the rim border of dichroic glass and gold is a personal interpretation of Adire cloth that comes from Nigeria.
Leopard - The gaze of the leopard was my focus in this piece....the wonderful eyes will follow you as you move around the room. The top and bottom inserts are portions of an African Tapestry design from the North-eastern Igbo speaking area, for the Leopard Society of Ejagham, Efik and other peoples of the Cross River Region. Nigeria, 20th century. This is surrounded by a leopard coat pattern. The border of dichroic glass is a representation of Kente cloth.
Cheetah - I chose to feature an innocent looking baby in front of her mother. The mother is looking off into the distance, ever alert to danger. The full scale drawing illustrates the mother in a laying position, and the baby leaning against her shoulder. This was cropped to accommodate the size of the center area. The top and bottom inserts include a center figure which is inspired by the sculptural figures produced by the Kota and the Obamba peoples of Gabon. Again, the dichroic border is a representation of Kente cloth.