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Sam and I walked up to the Estuary.

Clear skies, sea breeze.

A perfect day.

I have found that carving a small object can be a  difficult project, and may well take longer than the carving of something larger.

I remember struggling with the construction of the tiny sailing skiff Kingfisher, a six foot replica of the original Silver Mist made by Dad long ago (about 1958).

Construction of Explorer  (1996) was, by comparison, straightforward. Her greater length seemed to be more forgiving  of (perceived) defects and imperfections.

I wanted this small spoon to be perfect, or at least beautiful.

Still working on it….

 

 

Kazuyuki Ohtsu (born 1935) is one of the great masters of Japanese wood- block printmaking.

His work can be found at:   https://sakurafineart.com/

– a site which specializes in twentieth century and contemporary Japanese woodblock prints.

 

Whether working in clay, wood or acrylic, Mark Pearse was at heart a sculptor….

 

Photos kindly provided by Simon Scott.

River finally meets ocean….

.

 

A water colour study of a Southern Flinders landscape, 2010.

Very different, it seems to me, from the  Mark Pearse landscapes in acrylic.

Spare, delicate, minimalist, Zen: these are adjectives that spring to mind.

It appeals to my wood-carving temperament….and I should note that Mark Pearse  was an accomplished and prolific sculptor in wood.

The spine of the mould (when cut to shape) will be glued to the base.

 

 

Here is the base of the mould ready to be cut out.

 

As the old saying goes: well begun, half done….

I am hoping that my efforts to produce a really accurate template, or mould, (on which the body of the lute is formed), constitute a well begun project.

Lute construction is new territory for me.

One step at a time.