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THE INTERACTION OF GRAIN AND FORM IN TWO VOLCANOES -2
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... 2. Comparative Analysis (continued) ...
... The Grain (concluded) |
On the other side, Teddy's volcano presents less-than-perfect straight grain that falls diagonally across the pipe's surface. But once again, these striations underscore the forward propulsion of Teddy's composition. (The grain echoes the flow of the carving.) To my eye, the intense verticality of Kent's straight-grain adds visual restraint to the grace and elegance of his forms, imparting an entirely different character to the composition. |
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The Volcano Bowl The bowl-shape of each volcano reflects what I've been describing as "the energy level" of the pipe. Teddy splays out the base of the volcano so that the pipe seems to rest upon a broad foot, which protrudes (its big toe?) forwards. This shape exudes movement and emphasizes, again, the composition's sense of dynamic flow. Kent's bowl slides down rapidly and with little fuss to a beautifully finished base. The lines described are appealing and calm: there's more composure than tension in the composition. (For example, note how the front of the volcano barely sticks out from the rest of the bowl.) |
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The following photos sum up at a glance a good deal of my discussion so far, suggesting the different mood and different aesthetic sense that I find expressed by these two volcano variations. |
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The bottom of the bowl - indeed, the bottom of the pipe - further illustrates the different personalities of the two volcanoes. The flow energy in Teddy's sandblast ripples outward from a surprising ridge, that rises in the middle of the bowl-bottom, slightly irregular and off-center. Kent's volcano bottom is a three-star expanse of lovely birds-eye. |
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The contours of Teddy's unexpected central ridge adds a sense of dynamic uncertainty to our perception of the pipe. (It also gives wonderful tactile sensations while smoking.) The ridge looks like an organic eruption that happened "naturally" while Teddy was shaping the pipe; but in fact, its curve was molded by Teddy's fingers to fit beautifully into the overall composition. The arc of the ridge doesn't repeat the curve of the sweep from the shank along the bowl (as defined by the side edge of the pipe); instead, it mirrors the more abrupt slope traced by the top of the shank into the top of the bowl. Thus the central line of the carving finds itself sandwiched between two complementary lines, above and below ... creating a kinetic sort of balance - an order based upon the modulation of three related, but differing, planes of movement. And we feel these delightful variations with our hands, while holding the pipe, as well as when we look at the piece from a distance. |
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