Unlike silver, the gold and brass tones I work with have an inherit antique quality to them. That is not to say that silver always looks “new” just that the brighter quality of most silver can have a shocking quality next to the dark wood. Sill, I have had much success working in silver.

Working with material that is worn or tarnished, I have come to appreciate that when I am finished with a work, nature my not be. Having pieces that tarnish more, like brass,

only add to the timeless quality that I am trying to capture.

Like brass, copper’s warm tone works very well with the dark wood but copper presents a particular problem. If I seal the copper it will stay a bright copper color. If I leave the copper without a coating, sometimes it will tarnish a beautiful turquoise color and other times, darken in a more brownish direction. This makes it particularly difficult to know exactly how a work will evolve. Perhaps this is a good thing as it reminds me that even if I am the “creator” so much of this process is out of my control. As in watercolor painting, there are “accidents” were the colors “bloom” in a way that is not completely controllable... no matter how expert you are with the medium.

Most of my creative process is an exercise in following where the ingredients take me. It is a reminder of just letting go. Understanding that I am not in complete control is another lesson that these Foundlings teach me about life. A lesson that I am grateful for. This is Mandala I and is 20" x 20" x 3.

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