Week Links: “The Life of Trees”

Well, I’m running a bit late on the second edition of Week Links for March 17-23.  I spent all of Friday afternoon cleaning up the dirt and debris left by the stump grinder who obliterated the stumps of 13 trees (mostly pines) that we paid to have cut down and removed about mid-week. While I’m proud of the work I did shoveling and re-appropriating the dirt and debris to other parts of the yard (plant beds and Katie’s playground), I could hardly move when I wrapped up at 5:30 pm. The only energy I had left was watching NCAA Men’s Tournament (no complaints, believe me).  So I held off posting till today. The theme, appropriately enough, is about “The Life of Trees”:

Spirit Carvings by Keith Jennings

tree-4Starting with a few hand tools in his own backyard, sculptor Keith Jennings began carving faces into trees in 1982, a project he now refers to as Tree Spirits. It wasn’t long before he was commissioned to do a series of the carvings on some 20 trees around St. Simons Island just off the coast of Georgia.

Long Exposure Tree Landscapes by Pierre Pellegrini

pellegrini-1Swiss photographer Pierre Pellegrini shoots some phenomenal long-exposure photographs of trees. The strong perspective and foggy atmosphere seemingly ever-present in his work creates images that are both beautiful and eerie.

A Beautiful Bicycle Made of Wood

YojiroOshima-WoodBike-3qFrontJapanese design student Yojiro Oshima has done them one better with a prototype of his unconventional bicycle concept. For his degree project at Musahino Art University’s Craft & Industrial Design Department, he has designed and built a Y-Foil/Softride-style frame by hand

Underwater Reefs and Landscapes Made of Paper

reef-1Connecticut-based artist Amy Eisenfeld Genser (previously) recently completed a new series of coral reefs that she painstakingly recreates using rolled bits of paper and acrylic paint. Ahead of her upcoming exhibition at the Architectural Digest Home Show, Genser sat down with All Things Paper for a brief interview. An excerpt on her process:  These days I usually work with Thai Unryu [mulberry paper], but I have hundreds of papers in my studio from all around the world. I treat the paper almost as a pigment, layering colors one on top of the other to create different colors. My pieces are about a foot wide. Then I roll one layer on top of the other in all different thicknesses. I seal the roll with acid-free, archival glue stick, and then cut the long piece into sections with scissors or pruning shears. I have pruning shears of all different sizes to accommodate different widths.

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