Stoneware bottle with partial white slip extending up from an incised band near the widest stretch of the body upwards to the lip. Another band is incised just above the former, creating a two-band pattern that is repeated again at the neck. Between these pairs of bands is an abstract design painted in iron-oxide, creating a brown hue against the white slip. The mouth of the bottle is also coated in this reddish-brown hue. The base of the piece is left its natural gray-brown color.
Wooden box with a keyhole cut through center of piece encircled with copper-colored paint and two large copper screw-heads on golden-yellow background; the word “KEY” painted in white letters at bottom
Like “Key Box,” many of Tilson’s works are reminiscent of children’s learning games, with bold colors and simple geometric forms. “Key Box” also reveals Tilson’s fascination with the relationship between symbols and words, linking the written word “key” with the representation of a keyhole.
A partial view of a four-story building, concentrating on pairs of windows on each story and a wrought iron fence on the ground level. Windows have window boxes or balconies; on the ground level are several dogs on either side and a pair of milk cans at the center in front of the fence.
Whistler focused on lithography over etching during the 1890s, making his etched views of Paris, that were never printed in editions, quite rare.
Whistler uses a partial representation to evoke the whole, playing on the theme and variation offered by the pairs of windows on each floor of the building, as well as for the dogs and cans in the foreground. Another playful touch is the way he employs his "butterfly" signature on the left side to balance the join on the downspout on the right side of the image.
Turned-wood sculpture composed of a cluster of small jar-like vessels with stones embedded througout
small hollow vessels with stones, joined into one whole
After taking a course in woodturning, Alain Mailland established his own woodworking shop devoted to cabinetry, stairs, and verandas. In the early 1990s, he turned his focus solely to wood art, specializing in greenwood hollowing because “it’s a live material…and it later changes shape in an interesting way.” He quickly gained a reputation for his unique work and for turning some of the most difficult pieces created.
Complex and intricately carved, The Stone Eater is exemplary in its technical achievement. Each small vessel was individually turned, and yet the piece as a whole is still a single block of wood. It shows just how far Mailland is prepared to push the limits of technical skill.
The overall effect is one of a barnacle-like sea organism.