Jonas Olsen's seals carved from Black walnut.
Who could not love such tiny perfection?
Minuscule carving by Maysam Shalviri nestled in the crevasses of fingerprints.
" I rasp and sand the wood, until no traces of carving can be seen. Then I prepare a chalk-based gesso according to old recipes and mix Bolognese and Champagne chalk with a compound of rabbit-skin-glue and water. Rabbit-skin glue is a traditional adhesive made from rabbit skins and bones. By now, there are modern alternatives, however, in the past this was the common glue. In the end, the mix has a creamy texture. It is a bit tricky, because the compound needs to stay warm at all times, but mustn’t get too hot or too cold. Then an approximate fifteen layers are applied with a brush. In between, I sand it then and again to make sure it will be completely even. At the very end, I polish the figure with an agate stone. It tightens the surface, that almost appears as porcelain or marble. It is so important to me to keep the face recognisably wooden. If the sculpture were white entirely, one could think it’s cast in plastic." Katharina Andress
"Working mostly in wood, I see my efforts in relation to the vernacular traditions of carved religious figures, ships’ figureheads, and the so-called “show figures” found outside shops in the nineteenth century. However, as a contemporary artist and son of a banker, I want to create installations that suggest an absurdist office-like arena in which we can see, more nakedly than usual, the elaborate posturings of power, privilege, and pretense that secretly, or not so secretly, shape the world we live in. My point of view is both sympathetic and critical: those with power have much to answer for. If there were such a thing as corporate purgatory, this is what it might look like." Bob Trotman