I HAVE ALWAYS ADMIRED the uniqueness of primitive arts and crafts using natural materials and resources that are utilized in unconventional ways. Each piece has its own unique quality since natural and organic materials are not uniform, and cannot be recreated. As I plan out and conceptualize a work of art, there will always be some amount of personality and energy each piece inherently has that is out of my hands. I’ve combined my different skillsets into a modern interpretation of ancient craft. It has since become my passion.
THE PROCESS
CONCEPTION The idea for a piece is born through a thumbnail sketch, an interpretation of something going on in my mind. With the leather shapes, and a general representation of lines to be sewn, I can determine a color scheme, choosing the wood, leather, and thread color, and name each piece.
WOOD/LEATHER Once I’ve determined how large a piece will be, I draw the shapes out on paper, and trace them onto the leather. I go through stacks of wood looking for the most interesting grain pattern to compliment the leather shapes and design I have in mind. I also use wood molding, typically half rounds for the frame, which I later sew and wrap with leather. I cut everything to size, and glue and nail the molding for the frame.
PLANNING/DRILLING With the leather and wood shapes I draw the line in which all the holes will be drilled. There are two sets, one along the exterior of the leather, the other where I choose for the stitching to extend. This process is meticulous, as these holes must interact perfectly. The frame holes are also planned out and spaced evenly. I use very fine drill bits, various threads and needles. Drilling is a meticulous process, often holding my breath to maintain a steady hand and to stay on course.
FINISHING Oiling and finishing is based entirely on the species and grain of the wood. I generally use oils or polyurethane products, with many stages of sanding in-between, starting at 400 grit and working my way up to 1500 grit.
DESIGN/PAINTING This is by far the longest process, as leather has many imperfections, and different grains create different obstacles. Pronounced leather grain is much harder to get a straight line. I use archival pens for the layout of the design and fill with acyclic dye paint. I sketch many design patterns, using my original cut outs to draw ideas on before committing to them. I spend months on this part of the process.
STITCHING These works come to life during the stitching phase. As much as I try to conceptualize what a piece is meant to look like or represent, each piece really takes on its own energy and personality as I sew. This process is done with a mirror below, so I can feed the needle through without going below to find each hole. I also stitch the frame, sew the corners, stretch and staple the leather on the backside, the same way you would with a canvas.