|Project by Stephen Mines||posted 03-27-2011 08:13 PM||1947 views||6 times favorited||5 comments|
The ‘Tree’ as you see it here was completed in June 1993, almost exactly one year after it was commissioned. A little less than one year after that I wrote the following article, published in the March 1994 issue of American Woodturner.
TREE OF WANDS
Magic sticks conjure the secret of creative freedom
In March, 1992 I was fortunate enough to sell my first piece of “lathe-turned art” called Luxor Surprise (American Woodturner, March 1993, page 46). Its distinctly Egyptian look prompted a name evoking mystery and magic: Luxor is the modern town near the site of the ancient necropolis at Thebes. I had hollowed out the vase shape at the top and slyly included a hidden treasure—-a magic wand, turned in purple heart with interrupted spiral detailing which was, of course, the surprise. The collector seemed as much intrigued by the little wand inside as by the wooden sarcophagus that housed it. Six weeks later I received a note from him inquiring whether I had “something new in turning or magic wands of interest.”
Indeed I had. Already named even then, the Tree of Wands partially filled a sketchpad with notes and drawings, and there were eighteen magic wands in various stages of work which I, with some trepidation, showed to my client on a sunny day in June 1992. He was enthused from the start, commissioned it that day, and in June 1993 saw its completion. Turning magic wands isn’t exactly a passion…yet it has all the earmarks of becoming one.
Tree of Wands, finished, is home to sixty magic wands. To date, surviving wands (the ones that make it off the lathe in one piece) number 154 and most have sold or been traded for goods or services. I have less than twenty-five wands for show-n-tell at any given time and they are unfinished (or they’d be gone!).
The reason for the fascination with wands is obvious: they are each unique, attractive, and intriguing, rather mysterious (maybe they work!). Perhaps less obvious is the reason that they are such fun to create: NOWHERE, to my knowledge is the length, diameter or preferred material prescribed. Talk about creative freedom! It is a form for expression so vaguely defined that most people have little more than a dim perception of what the animal is supposed to look like, sort of a “Here there be dragons” situation. No longer bound by the constricting drawings of draftsmen and designers, nor to any actual precedent, the imagination can fairly fly through the myriad possibilities, pausing here and there to see what one idea might look like were it executed. Even if you think you’ve made a mistake, all of a sudden you look at it and say, “Yes! That’s what it should look like.” Any material can be worked; any embellishment can be employed. Synthetic or genuine, precious or semi-precious gems and stones, and precious or mundane metals can be incorporated freely. And shape and size can be pretty much as your whim might dictate. (Short and stubby might not work, but one of these days I’m going to give it a try; I’ve got a bowl blank of bloodwood, the crystal for the tip is purchased, and the wand is already sketched.)
A vessel is a vessel, be it bowl, urn, dish, tub, platter, compote, tube, (a long tube, as in blood vessel), and is meant to contain, constrain, or hold something; by definition, a vessel is filled with expectations. But a magic wand? No parameters. Moses and Merlin seem to have preferred the tallish variety, but some good old boys (witch doctors and dowsers, for instance) like the little jobs they can easily stow away out of sight until later in the show. See what I mean? It’s wide open. If you call it a magic wand and it kind of resembles that remark, it is one.
Being the human animal, never content with just freedom, I’ve already added some walls of my own. I have categorized my magic wands by size: micro, mini, med/mini, medium, macro, and O my God, it’s huge! Each length category seems to have its advantages and disadvantages. With the micro and mini size, (3 inches to 8 inches) shop scraps take on a whole new meaning and worth. Pink Ivory and Snakewood costs are shrunk to an affordable size, though you may want to invest in a watchmaker’s lathe and put up with turning while looking through a vibrating, illuminated magnifier. Miniature tooling seems to be a lot less expensive though, especially if you take the time to convert an old 1/8-inch chisel into a working gouge or spear point scraper. Oddly, the time spent on these little wands doesn’t seems to shrink in proportion to size; for me, the smaller wands often take longer to complete and actually seem to cost more in terms of energy expended than some of the larger variety.
A word of caution: you’ll be tempted to use genuine precious stones and metals rater then inexpensive synthetic substitutes. That’s okay. You’ll be able to say ”...and the rubies are real, you know.” However, at that size (2-3 mm) only a jeweler would know for sure, and he’d probably be the first to say that the synthetics are at least as good, if not better, considering the application. Unless you’re executing a commission for the Czar or the Pope, stick to man-made or semi-precious materials; used sparingly they simulate the real thing, and can always be upgraded if need be.
The med/mini size (between miniature and medium, up to 14-15 inches) is a lot of fun, my favorite. Small enough to carry around, too large to be mistaken for a key-fob ornament, and just the right size to carve or embellish with detail. They also help use up the small but precious pieces of exotic woods left over from larger projects. A tip: with three or more, grouped by shape or wood type, this size makes an instant tabletop or bookcase collection. As it should be, the average collector (who of course isn’t average at all) would presumably prefer to start a collection with more than one of a kind. If the collection is already underway, a multiple addition is a natural progression as well. A multiple addition for a collector is a multiple sale for an artist/craftsperson. Presto! Ah, the magic of being able to pay the bill on time!
The medium size (to around 22 inches) starts getting a little tricky because of the slender shafts, but this size is easily manipulated and supportable (by hand as often as with steady rests) and the more expensive exotic woods can still be worked without refinancing the homestead. Cue stick blanks (or cue butts) are also available in exotic woods and can be used here to great advantage. Another plus: router bits can be utilized for fluting, twists, and similar operations. This is the most popular size and for the most part is a stay-at-home-on-a-stand wand. If I were still in the army (or near an installation) I think a well-designed short-timer’s magic wand of this size could be a runaway seller, billed as: “A keepsake for life. Take it home…soon!”
(For those who don’t know, a short-timer’s stick is a swagger stick for people with thirty or less days left to serve. Each day of the count-down a small section of the end of the stick is removed, until just before estimated time of separation the guy with the very short stick is an object of envy to everyone not going home. All you wood turners in the military…there must be some here…take that idea and run with it.)
When you approach the macro category (40-45 inches) you’ll suddenly notice a world of examples, such as walking sticks, canes, walking and hiking staffs, shepherds crooks, and the like. You might, like I did, begin wondering about the history of these objects. I think that in the here-to-for bygones, you didn’t have to have an infirmity to need or want something to lean on or fall back on. Everybody carried a stick. It not only helped over rough terrain and tight spots (like parting the Red Sea) but was also a reassurance when confronting wolves and other bad guys, maybe even dragons. Psychologically, who doesn’t feel just a tad more in control of his or her own destiny while carrying a stick? Whether a peasant, a peddler, a court magician, or the queen herself, we all feel a wee bit safer when armed with more than wits alone. Which of course leads us into the realm of speculation: if everyone is carrying a stick of one size and shape, wouldn’t it be wise to carry a bigger stick? Perhaps even one with magical powers?
And speaking of bigger and better sticks, we come to the huge categories. Once upon a time there be giants in the land (or so sayeth legend and myth). If there were giants, I sure wouldn’t expect one, say 12 feet tall, to shuffle down the street carrying a wand 20 inches long looking like a refugee from a key chain, would you? Heck no. Leave the littler wands to the mini category and “little people” from whence they came. Still, finding a reason for a really big wand wasn’t really all that difficult. Just as umbrellas have their umbrella stand, my magic wands have their wand “tree.” so very cleverly (not!) disguised as a really large magic wand, 92 inches tall.
Back here in the more or less real world, I almost always have some difficulty designing a wand. When I finally sketch an idea that seems worth trying, I give it a spin on the lathe, usually with a piece of inexpensive poplar. If I like what comes off the machine, I try it again in a different, maybe more exotic wood. By the time I have several attempts lying around, I begin to wonder what kind of detailing, if any, would enhance and decorate them. The possibilities cause me to make more wands so that I can try the various options without sacrificing any. It is in this way that I wind up with a series of wands, each different from but resembling the original idea. It’s like scanning for a feeling of “rightness.” Even the not-so-right wands always seem to have a uniqueness, and they all get in line for subsequent work. Besides having an investment of time, energy, and materials in the things, I guess I project something of myself into them. At any rate I am loathe to see any piece dead lined on its way to completion. It happens, but not too often. It’s rather like magic.FOOTNOTE:
The Tree took ribbons at the Los Angeles County Fair, Los Angeles, CA, the Del Mar County Fair, Del Mar, CA, and the Ventura County Fair, Ventura, Ca. I entered it in these compitetions at the direction of Irving Lipton who had commissioned it. I also entered it in a juried exhibition called Challenge V: International Lathe-Turned Objects, under the ageis of The Wood Turning Center, Phillidelphia, PA. It was on tour for three years with that exhibition. The 5th photo is a ‘Legend’ of the wands on the tree, with species, dims and other info. The 6th photo is of some of the wands in process. The ‘Tree’ was commissioned for $10,000.00, 50% down and balance on completion. Not a fortune but it was such a labor of love that I couldn’t possibly count the hours spent on it as work. When the heart sings and you just can’t get that goofy smile off your face you know you’re on the right track.
-- Stephen Mines (Saltmines@aol.com)