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B.K. Henderson-Winnie

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About B.K. Henderson-Winnie

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    Advanced Member
  • Birthday 01/22/1970

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  • Website URL
    http://www.jackbirdarts.com
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  • Gender
    Female
  • Location
    Portland, OR

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  1. Hello all, I recently agreed to do some experimental carving in a new material that we think will have the properties of glass and/or ungrogged creramic and/or jade-like stone (we'll find out!). I can't go into the details of what the material specifically is because there are proprietary info restrictions involved at this stage of development, but I'm excited to experiment with carving whatever shows up in my mailbox next week. I've not done any carving on such a substance before, but with the generously shared information here, I feel I will get a good start. Thank you all, especially Janel, for this info that is here when I need it. I'll be combing the archives to research tools and safety procedures. It is so much less intimidating knowing that this knowledge base (and personal creative support base!) exists. I haven't contributed many posts lately, but as my theater schedule lightens up a bit int he next couple of months I'll post some images of what I've been up to & catch up! With much love, Bonnie
  2. Hi Janel, I think archiving this site is a great option, and I'll be happy to contribute to the costs of that. There is just so much valuable information here that isn't readily available elsewhere it is worth preserving. Along with all the good conversations! Trying to keep a balance and have right livelihood in changing markets/environments/conditions is difficult, to put it in mildest terms. I applaud the fact that you are making your living as an artist, whatever the medium! I don't think a lot of people understand that to choose life as an artist, for most people who don't come to it with ample financial resources, is to choose a life demanding flexibility and resourcefulness, as well as sacrifice and constant assessment of the market, constant hustle. And real and constant work in striking a balance with family obligations and all else life demands outside of the studio and stage. I see it all the time with the performers here. Skill, even brilliance doesn't always guarantee success (where success = you are able to keep doing it for a living). And some success doesn't mean that it will continue, even if the work continues to be really good. I could launch off into a whole multi page tangent about craft, value, and its relationship with income. And the question "who am I making this for?". But I won't right now It is also true that if this forum ends up going into archive-only mode, any new enthusiastic carvers that come along and want to make a forum of their own and keep it active, they will. I hope if that happens down the road, that we can point them to the archive as a helpful resource. I treasure the opportunity I've had to learn from the contents of this site, and to get to know and befriend the person responsible for initially bringing me back into artmaking, and whose work continues to inspire. They say "don't meet your heroes because in real life they often disappoint", but that has been dramatically untrue in this case. I am glad to know you, and to continue to follow you work & life on facebook, Janel. I'm grateful for all you have given and continue to give. You're pretty special, too! Whatever you decide, it'll be the right thing. With gratitude, Bonnie
  3. Hello Janel and all, I am sorry to not see this post until months and months after the original posting. I am glad that you decided to keep it up and going Janel, though I completely understand wondering if it's time to shut it down due to lack of activity. I haven't been on in a long time, mostly because I've been working a lot and my carving has slowed to a crawl. I'm chipping away at that mountain called "saving a down payment for purchasing a home" which has me taking all the paying work I can. I do think I need to ease up on that, though, because too much work takes the spark right out of life. I am grateful to have so much work but it is at the expense of other important things. I am happy to say I think I've solved all my physical issues and hope the coming year will be a more open and productive year for me in regards to the carving. I'll put a check in the mail, Janel, and am happy to do it if for no other reason than to help preserve the valuable info here. I will make an effort to be a more active commenter and poster too! Thanks to you Janel, and to everyone here for all you do and have done. Bonnie
  4. I like the softness of this piece. Makes me want to touch it and turn it in my hands.
  5. Thanks so much for this grouping of articles. Bookmarked!
  6. Oh wow, those are simply exquisite. I love the sense of form and formless space inside the stone. Wonderful.
  7. Hello! I made this little water spirit talisman/netsuke in 2015, "Miss Moisture" She is made from camel bone, rainbow moonstones salvaged from old jewelry, white moonstones, sterling silver. I remade the silver settings to better fit the stones. The inlay on her back is made from ground turquoise and ground freshwater pearl. The inlay was made with the paste technique I described in a previous post. 1 5/16" x 1 1/8 x 3/8" (3.3cm x 2.8cm x 1.0cm)
  8. Hi Janel, It does! Thank you The signature inlay is a carry-over from my metalworking. I have a maker's mark stamp, and I simply stamped it into a little circle of silver, then inlaid that. I ordered the custom stamp for my maker's mark from Rio Grande, and it cost about $70. B
  9. Hello all, I made this lector's pointer back in 2013. A good friend had just gotten her master's degree in archaeology. She was lecturing and teaching classes regularly, and lamented that she had no good pointer stick to use. I thought I should make her one. I put a hornet on it to help her keep all the students' attention on her lecturing- because everyone in the room pays very close attention to what's going on if there's a hornet in the space! It is 25" long with a 3/4" handle. Main shaft made of cedar, with rose cane, mammoth ivory, Siberian jet, copper, ebony, and sterling silver in the grip and other components . sketches pre-inlay mammoth section, roughed-in hornet the sections were screwed and epoxied together hornet with finished paste inlay of Siberian jet pointer tip, alternating layers of ebony and mammoth ivory maker's mark cartouche on end of handle
  10. Ed, Sounds like a delicate process. Sometimes it just goes that way I guess. Better luck with the next one! Bonnie
  11. hi Ed, Initially I put it there for scale, but decided that a dime might be a clearer object to use. Eventually I went ahead and lacquered the dollar fragment on there, though,, because I thought why not? A little material support talisman couldn't hurt
  12. Hi Raj, Nice first one- I like the little translucent area on the lip. Or is that a lighter spot on the stone? Do you have more photos with different views? Bonnie
  13. Oh yes! This fellow's work is amazing! I have him friended on facebook, and he posts a lot of process photos as well as those of finished work. Thanks for sharing, Ed! Bonnie
  14. Hi Janel, The wet paste inlay technique can be done a couple of ways, depending on the coarseness of the grind of your inlay material and the viscosity of the adhesive. For this piece, I took fine jet dust from filing a piece of jet with a fine file and mixed it with just enough epoxy to make a paste. I then used a toothpick and a needle to fill the little pupil cavity in the eye. I did the same for the little half-and-half inlaid face. Once it has cured, you can file or shave the hardened paste down to the material's surface. With this method, I try to get as much of the inlay material into the paste mix as possible, so there is a good color density and richness. If there are low spots after the first application, more layers of paste can be added, cured, and shaped until the desired surface is reached. The other way I've done it is the dry packing way. That is when I carve a channel and then pack it with the ground inlay material. Once the channel or pocket is full, a low-viscosity adhesive is introduced to the surface and is pulled down into the pocket of inlay material by capillary action. For deeper inlays, to ensure it bonds well to all internal surfaces, I will often lay it in in layers. This method works well when the inlay particles are a bit coarser than sawdust and the adhesive is very low viscosity, like low viscosity watery CA glue. This method also seems to work best with non-wood materials since the cellulose in wood sawdust catalyzes the CA glue and prevents it penetrating between the granules or particles of inlay material all the way to the bottom before hardening. I learned about that the hard way! I have used this method with materials like ground turquoise, pearl, and other similar materials, and it works well for larger granules of materials that don't contain celluose.
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