My Process
My approach to jade carving and design
Taking Form Jade Studio continues to take form and grow, and the carvings I offer now are both the culmination of years of effort and the beginning of my new work.
I believe I have a unique combination of experience and abilities to bring beautiful and meaningful carvings to jade lovers worldwide.
High quality jade is the toughest natural stone, and it is this toughness which allows it to be carved into the graceful forms I am interested in carving.
TECHNIQUES
Jade is harder than steel, about as hard as the mineral quartz, so it can only be carved by abrasion. While electric motors and modern abrasives speed the process, patience is still the byword.
My carving technique combines modern and ancient methods. Diamond saws and grinders begin the process, roughing out the forms. This is followed by finer grinding, refining, and sanding using the “loose grit” or mud carving method invented by Chinese carvers 7000 years ago. Rotating metal, wood, or plastic tools cut the jade by means of a muddy slurry of abrasive grit and water. Hand sanding and stoning with abrasive blocks and water help perfect critical details and surfaces the rotary tools cannot.
These steps are then followed by final sanding and finishing. I usually prefer a soft lustrous satin finish over a harsh glassy bright polish. A jade master in Suzhou, China gave me a great compliment on the finish of one of my carvings he was examining.
DESIGN INSPIRATION
The name “Taking Form Jade Studio” comes from my commitment to the rich possibilities of the language of three-dimensional form and from the process of discovery and development inherent in the active pursuit of artistic excellence.
I think of jade as the sculptor’s gemstone, and the material itself is an inspiration. I create my pendants as small-scale wearable sculptures to be experienced directly and intimately, bringing art and life together on a daily basis.
The inspiration for the forms I carve comes from a wide range of sources which can be divided into the two categories of culture and nature.
A deep familiarity with the cultural productions of the history of art informs my work. We humans have been making art objects for millennia and the richness and beauty of that legacy is at once inspiring and intimidating. Nonetheless I believe artists must be aware of the wide range of what others have done, seek to understand it, internalize it, and then create their own personal and distinctive body of work. We are all magpies.
The beauty of the forms of natural objects is an inspiration to me. A painter may gaze at a cloud-swept sky and find inspiration but I often look down and pick up shells, seed pods, nuts, and leaves. I find the three-dimensional spirals of shells especially fascinating and inspiring. Objects such as shells, seed pods, and nuts have resonating relationships of interior and exterior, decay and growth, emptiness and fullness, and of impermanence and permanence.
The process of developing a glimmer of inspiration into a fully resolved jade carving can stretch over a period of years. Like many modern artists, I work in series, exploring certain ideas repeatedly, developing a vocabulary of forms, pushing, pulling, and combining them in various ways. The first attempt is rarely the best and a sustained effort to refine and perfect a design is required.
NECKLACES
The pendants I design and carve are signed and dated one-of-a-kind art objects. The absolute dedication I put into every phase of their creation puts them on a different level than the mass-produced work.
I concentrate on all-stone pendants hung on simple cords. For me there is a timeless elegance in a beautiful jade presented this way, without the interference of metal mountings. I put a lot of thought and experimentation into how the pendants hang and balance on their cords, since they are really small suspended sculptures consisting of a carved jade piece, one or two beads, and a cord.
With few exceptions, the cords are all pure silk, either plant dyed hand braided silk kumihimo or fine machine braided silk from Japan. The length of the cords is adjustable by means of sliding beads or sliding knots.
These necklaces have been retailing for between $250.00 and $2,700.00 US. The price is based first and foremost on the quality and replacement value of the jade, and secondarily on the success and beauty of the design and carving.
EARRINGS
I make a unique style of jade earrings, more sculptural than many available on the market today. Fine jade is very strong, so the earrings can be thin and light and yet stand up to daily wear. I hand fabricate the sterling silver or 14/20 gold filled ear wires myself in a unique and architectonic design.
SCULPTURES
I sometimes carve small jade sculptures and bowls, which are often presented on carved wooden bases precisely fitted to the jade. Wood is kind to jade and can be carved to present the jade in the proper manner, reinforcing the appearance and concept of the jade carving. The jade is not bolted to the sculpture like a marble bust, but can be lifted off the base for handling, then returned to the base for viewing.
PHOTO CREDITS
The good photos of jades are by Bill Kipp, http://www.billkipp.com/.
Some Flat Lay photos of jades are my fault.
Jess Dugan shot the black and white portrait. http://www.jessdugan.com/
Robert Liu took the photo of me in my olive seersucker guayabera shirt.