Woodsilks

Barbara Woods

I began painting silk in the early 1990’s creating fashions for women. After years of designing clothes and feeling limited with fashion I began designing wall pieces and lampshades, collaborating with ceramic artists and my husband, Tom.

The work has evolved into lighted silk and clay sculptures. These sculptures use a broad canvas which allows my designs to be more expressive and the light creates a soft ambience that enhances any room.

A desire for more control over the completed piece motivated me to study ceramics. After several years and many classes I discovered that slab construction and carved porcelain clay gives the desired result. The addition of sand blasting, china paint and multiple glazes now allow me to match each clay body with the colors of the silk.

My Chrysalis series of wall sconces investigate and develops the nature of winged creatures. Light emanating through the wings creates a magical effect, not soon forgotten.

The French Gutta resist technique of silk painting is my preferred method. I work with 4 to 5 yards of silk at one time, first penciling in the design and then laying a resist. No screens or stencils are used. Dye is applied by hand with brushes and steam set for maximum color fastness and extra depth is achieved through multiple dye layers. Finished paintings are mounted on industrial white styrene to maintain the form without the use of wires and structural components. The sculptures should be dusted frequently and may be wiped with a clean damp cloth.

H. Tom Thomas

I grew up in my mother’s woodshop where she made and re-finished furniture. My grandfather owned a lumber mill in Harrisburg, PA, and my great-grandfather owned the Hollingsworth and Gause Company in Wilmington, DE, where they built furniture for parlor cars and steam ships. I have fond memories of playing around stacks of fresh smelling Maple, Ash and the last of the wormy Chestnut. Woodworking is in my blood.

While I have maintained a workshop throughout my life, woodworking was not my first occupation. After school I began working as a photographer for the Museum of New Mexico, recording Archaeological sites around the state. The study of pre-historic natural and man-made forms impressed on me a certain fondness for earth-tones and facetted design elements. Later, I developed an eye for mathematical exactness from a career in software. My woodwork attempts to combine these lessons.

The lamps I make are turned from columns constructed like small barrels using staves exactly cut out of 4/4” thick boards from a variety of trees. I mix and match exotic species from all parts of the world with less rare woods from renewable native trees in an attempt to create pieces that convey beauty and diversity without relying too much on depleted natural resources. The columns are further cut into rings and re-assembled in patterns that display woven, banded and spiral designs in an attempt to best convey the faceted beauty of each wood. Mixing woods of different hardness and density is problematic due to bouncing and requires the use of heavy composite metal tools which are stable and hold an edge. The thick hardwood bases are mostly Maple, Cherry and Mahogany. While many hours are spent designing, cutting, gluing and turning these lamps, many more hours are spent finishing with multiple coats of rubbed Tung oil and wax.