Eleanor Lakelin describes herself as a ‘maker in wood’. The UK artist manipulates salvaged wood – stitching, scorching, sandblasting, piercing and bleaching the wood to create turned and carved functional and sculptural objects. The results are a satisfying mix of objects that look organic, fossilized or slick. Nice.
“Each piece has a story to tell about how and why it was made and this sense of narrative is underlined by the notes which accompany each bowl or vessel. These not only date the work but also explain the age, type and provenance of the material, its inspiration and the processes it has undergone.”
Eleanor Lakelin’s website
Read an article about the artist here
Since childhood, Sweden’s Lena Olson has had what she refers to as a “close and good relationship” with wood. She credits her ‘thing’ with wood as one of the main reasons the material is a good fit for the artist.
Rings, bracelets, pendants, brooches and bracelets beautifully crafted from ebony, pearwood, pink ebony, lime, amaranth. . .
“Initially I used to combine wood with silver in my jewelry, and also other materials like textile and concrete. But as wood turned out to give me all the answers and challenges I could ask for, it was eventually the only thing I needed.” From an interview with the artist on AJF
Olson enjoys taking a solid piece of material and removing pieces of it to create the form, particularly when the material itself makes it clear the artist is not in control of everything. I’m speaking of the grains, cracks, and variations of colors in any piece of wood . She doesn’t control them and yet they add so much, all while she is taking away from the material to create a form. Olson surrenders to the material with grace. . .
Lena Olson’s website
Read the interview with Lena Olson on Art Jewelry Forum
Acclaimed painter and sculptor Edgar Zuñiga Jimenez creates figurative columns from wood, clay, iron and steel.
The wood columns are carved from antique ceiling beams, adding to their allure.
“I use the column as the base and support of my artistic expression. On the column I develop different formal languages; I position on them sculpted faces or anatomical fragments, especially on wooden columns obtained from old or demolished houses from the Central Valley of Costa Rica. Through them, I am expressing the loss of the collective memory and values.”
While I am most drawn to the reclaimed wood columns with carved faces, his steel columns with clay figures holding up, holding on and holding out speak to me of a quiet power within.
Edgar Zuñiga’s website (where I found most of this information) seems to be having some issues at the moment, but you can see more on his Facebook Page.