Balancing these two tables has been one of the trickier challenges I’ve faced since starting Measure Cut Cut Studio two years ago. Since both are large – about 4′ wide x 8′ long – I’ve found myself crafting each piece in stages and shuffling things around a lot to make room.

Another challenge is that the design and building process differs markedly for each piece. One is for Delinea Design, a growing multimedia creative studio located in the Market West neighborhood. Co-owners Matt Bross and Chad Eacker approached me last year with a simple design concept that I transformed into is a sort of avant garde design combining multiple drawers and open air cubby space with various types of wood and glass. The piece has a specific design (not everything I make has a “real” plan – keep reading…) that I’ve been able to reference throughout the building process and it’s moving along nicely.

Thus far, I’ve prepped and primed the legs, which were salvaged from the former Omaha Witherspoon Mansion. The legs anchor a plywood base and a top made of a combination of reclaimed redwood from the Falstaff Brewery, birch hardwood and locally sourced walnut.

Delinea Design’s recent growth has really pushed the limits of their current conference table, so I’m trying to get this piece finished by the end of January. It’s going to be tight, but I think I’ll make it. Keep your fingers crossed for me.

* * * * *

The second table is for my amazing friend Megan Hunt’s workspace at the expanding Mastercraft building. Besides her business, Princess Lasertron, Megan operates a co-working space called CAMP. Her table will be more of a multi-function work table that anyone can use. I imagine Megan and her feisty assistant Shannon using it to lay out patterns, cut fabric or layout a spread of snacks for a networking event. But it will also be an excellent spot for CAMP tenants to layout plans or just chill with their laptops while contemplating their next move or doing some sort of computer work I wouldn’t understand.

So far, I’ve painted the thick, glossy black stripes on the top and started shaping the curvy legs that will also be painted glossy black.

Though this is a much simpler project than the Delinea piece, the challenge is that I’m working kind of intuitively. I have a basic drawing, but Megan likes my work and gave me some leeway with the final piece. I’ll likely end up adding a couple drawers and maybe some additional storage space. I also want to add an element that Megan’s and her husband Dave’s curious little daughter Alice can interact with as she plays and grows up some in CAMP over the next few years. That might be the biggest challenge of all.

 * * * * *

I mentioned I started my new semester as a mentor at Kent Bellows Studio. I can’t say enough about how amazing an adventure it is working with the kids at KBS. I’m lucky this semester to have 3 students working with me – each with diverse talents and points of view – and all with a passion for discovery and exploration. If I’ve ever talked to you about my experience at KBS, it’s likely I’ve said, “Tuesday’s are my favorite day.” For me, that’s true. Can you say that about a day at the beginning of the work week? If not, maybe you should look into a volunteer or mentoring opportunity. Expect to hear much more about my semester with KBS as we move through the winter. I have high hopes for my students and plan to showcase their work.

* * * * *

Oh, and did you make it to any of the other big arts events this past weekend? The Bemis’s new “Placemakers” exhibit was a knock out. If you didn’t make it, it’ll be up for a while. You’ll immediately be drawn toward Quynh Vantu’s large grouping of inflated balls. But for me, Vantu’s other installation, a long, antiseptic hallway separated by several swinging doors, was her more compelling work. And like many others, I was drawn into (and desperately wanted to touch) Anne Lindberg’s meticulous grouping of strings in Gallery 2, “drawn pink.”

 * * * * *

]]> http://www.measurecutcut.com/process/tables-for-two-new-semester-at-kbs-placemakers-at-the-bemis/feed/ 2 http://www.measurecutcut.com/process/a-vessel/ http://www.measurecutcut.com/process/a-vessel/#comments Sun, 18 Dec 2011 19:24:43 +0000 pgcales http://www.measurecutcut.com/?p=811 Read more »]]> All the projects I take on are meaningful and important. Many carry an emotional significance based on the way my customer plans to use the piece, like an altar or dining table. It’s not everyday you get the opportunity to have something made especially for you that will be a part of your daily rituals and routines, and will eventually become part of the memories you make.

But lately I’ve been approached about doing a couple personal projects that have packed such an emotional punch that my customers and I have shed some tears. I’d be lying if I didn’t admit that these kinds of projects intimidate me. After all, when you memorialize someone, you have all sorts of responsibilities: honoring the person’s legacy, being honest, making sure the family feels happy and has their needs met.

I was recently approached by a colleague and friend who shared with me that he and his wife had lost a baby during a previous pregnancy. This had of course been a traumatic experience for them and their family. Following a cremation, they looked for a small urn or container that they could use to hold the ashes, but were unable to find the right thing.

When we initially discussed the project together, my client talked about how a friend had given the family an orchid and how it had become an important symbol for them. So in my initial drawings and sketches, I tried several ideas that involved orchids, either literally or figuratively. I looked at a lot of pictures of orchids and thought a lot about the Ghost Orchid, the rare and elusive subject of Susan Orlean’s book, The Orchid Thief. I thought about the term “ghost orchid” a lot, and wondered if it would be distasteful or inappropriate to bring it up in conversation for this project. I thought a lot about how orchids are often so unique and strange, like many people are.

But after a while I realized I wasn’t honoring or preserving a person’s memory; I was creating a vessel for the family to mourn memories that never had a chance to be made, and to experience loss, grief and hope together.

So following my exploration of orchids, I moved toward more abstract forms that were inspired by the beauty and uniqueness of orchids, but weren’t so beholden to them in form. I wanted to do something that was positive – not fun or whimsical of course, but beautiful, un-intimidating and inviting. I sketched a couple objects that had organic shapes that are similar to a vase or urn, but are more simply just vessels. I also decided to work my recent fixation with drawers into the design as a way for the family to interact with the piece, as opposed to it being just a holder for the ashes. My first of these was the brown and red piece in the sketch above, but I wasn’t happy with it because I thought the aesthetic was too indebted to Eastern design.

My follow-up – and the one that is now the main inspiration for the actual piece, is the one shown below.

This second sketch is a more vase-like form with a series of small drawers that spiral up the side of the vessel. There’s a drawer for each family member to add a special keepsake that will stay with the ashes, which will be placed in a lidded central shaft. Like many of the more complicated balloon pieces I’ve made recently, the design of this piece is pretty complicated. For an object that’s only going to be about 6-8″ in diameter and 12-14″ tall, it will have a lot of pieces – probably something like 50 individual pieces when I account for all the drawers.

This Vessel is the kind of project that makes me proud of the work I do, and embodies how important it is for me to have such a personal and involved design process with my clients and patrons. While it’s been a difficult project to start, I know it will prove to be an important one for everyone involved when finished, including myself.

But I tend to focus on the little things within larger contexts. So here are a few details I’ve noticed recently that I think have had pretty profound effects on my design aesthetic.

Anybody else have a laundry chute in their house? My sister and I and our friends used to throw all sorts of toys, stuffed animals and other non-laundry items from the 2nd floor all the way down to the basement. It was always full of such whimsy and mystery at teh same time. Don’t worry – no children were ever seriously injured or lost to the Cales Family laundry chute.

My parents always encouraged our interest in arts and crafts. My family didn’t travel much when I was growing up, but when we did, we always stopped at museums and other interesting cultural attractions where my sister and I could see things that weren’t so easily accessed in Winfield, KS. When I was in high school, I started fooling around with any art supplies and “canvases” I could find. I added stained glass to the row of windows in my room and painted a couple small oil paintings directly on my bedroom wall. I’ve left out the picture of the giant maroon stain on the carpet that was the result of a horrific paint can spill.  Sometimes I really miss painting.

Ah, the Burger Station. I don’t eat many burgers now, but I’ll sneak one occasionally when I’m in Winfield. Few other places remind me more of my childhood than Burger Station. Like most everything else in town, it’s only about a mile from my parent’s house. And like many good things, they’re still doing it the same way they started more than 70 years ago when they opened. Simple, made-to-order and very greasy. If you ever get a chance to visit, you’ll appreciate that it’s carryout only. 

Remember how I mentioned that defunct college campus? Well, this is the West wall of Meyer Hall, part of what was once the 32-acre campus of St. John’s College. If you could look about 50 feet across the street, just to the right of this wall, you’d see my parent’s house. From the time I was old enough to cross the street by myself until I graduated high school, I spent countless hours throwing baseballs against this wall (and occasionally onto the roof or through a window). All those hours of staring at the art deco design must have permeated my aesthetic. I just noticed the resemblance in the inlaid design of this early table top I designed. I’m sure there are other examples too.

After I get back from a little Christmas break, I’ll post some photos of my dad’s kaleidoscope collection. And maybe some of the furniture he made before I was born. And did I mention my mom used to collect vintage hats and clothes? And then there’s the basement. Well, I guess it’ll necessitate a Part 2.

- Peter -

The drawing below is a sort of inspiration sketch for the final piece. The actual piece is slightly larger at 12″ deep x 30″ wide x 36″ long. My client chose the inlay design scheme on the right with the angular lines of color. (I’m hoping to make myself or someone else a version with the design on the left too, with the shooting star.)

For the linear and angular design, I’ve inlaid thin strips of scrap walnut and yellow heart woods I was able to find recently, as well as strips from a piece of paduak I picked up last week (the orange colored wood). If you’re wondering, all the colors are naturally occurring; no stinky stains or paints were necessary to achieve any of the deep, rich tones.

I finished the inlay on the last side today, so tomorrow starts my (least) favorite part: sanding. A little of this, a little of that and it’ll be ready to set under the tree. Or maybe next to  one way or another.

Enter Birdhouse Interior Design, and their upcoming design event and philanthropic venture, HOME. As far as unique events go, the HOME showcase is pretty high up there.

Birdhouse is the brainchild of 20-something Jessica McKay, and anchored by her husband/partner Christopher Van Buskirk and sidekick/firecracker/guru Bethany Haubert. If you’re not yet familiar with them, I’ll just tell you it’s a little newer and a lot bolder than your mom’s favorite interior design store. And one way Birdhouse are carving out a niche is by sourcing local furnishings for their clients. I’m not just talking about hiring a local contractor; I’m talking about commissioning a one-of-a-kind table or painting or incorporating a vintage window salvaged from an antique store. Indeed, the folks at Birdhouse realize that the next generation of home and business owners want their spaces to be a reflection of themselves, their communities and their unique style. After all, why put a cheaply made, mass-produced painting from Wal-Mart on your living room wall when you can get a unique piece at a comparable price point that was made by someone you might have a chance to meet at your next cocktail hour?

HOME is a reflection of this design ethos. From December 2 – 10, HOME will transform the Bancroft Street Market into 7 individually designed spaces – Dining Room, Living Room, Home Office, Master Bedroom, Child’s Bedroom, Family Game Room and Landing. Each space will feature art and furnishings contributed by local artists, designers and craftsmen.

I’m proud to say I’ll have both sculptural objects and functional pieces in several of the spaces. These include an elegant, versatile walnut table, one of my signature woven paper seated chairs (pictured above) and one of my new flying object mobiles.

Along with an opportunity to peruse a bunch of amazing furnishings and art right in the middle of the holiday shopping season, HOME is also a fundraiser for the Union for Contemporary Art, an Omaha-based non-profit that provides kids throughout the Omaha area to explore their creativity through workshops with professional artists.

Tickets for the opening night fundraiser for the Union for Contemporary Art are $30. Your ticket also gets you tasty refreshments courtesy of Solas Distillery, tasty foods and first dibs on all the cool stuff in the show. During the remaining days following opening night, tickets are just $5 bucks.

So make an evening of it and come on down to HOME on December 2 in support of Birdhouse Interiors, the Union for Contemporary Art and an amazing roster of local artists.

Which side of a board should I place face up?

What difference does the orientation of individual pieces make within the context of a whole form?

How do my materials and choices impact proportion? What quality of materials is appropriate for each piece?

One of the aspects of my designs that sets my pieces apart from something you can buy at Furniture Mart, CB2 or even a higher end retail store (all perfectly fine places to purchase furniture, btw) is that I embrace materials and anomalies that others would discard or work around.

The table top pictured above, especially the cropped section on the right, is a good embodiment of this process. But for this piece, I didn’t start with a concept very different than a basic 4 legs and a top design. I knew I would be incorporating some especially THICK, fifty-year-old walnut stock my dad gave me for the legs. When I hunted down the pieces for the tops and sides, I looked for boards with unique tones and patterns individually, but that I knew could work together as a whole piece. I found 6 or 8 walnut boards that ranged from the fairly traditional purplish-brown hue that our local walnut tends to display; to pieces with reddish-blonde streaks that tell me they were milled from a dead tree; to pieces heavy with creamy white streaks of sap wood.

When it comes to actually fabricating a piece like a table top, I approach it deliberately. Each piece is placed next to another for a reason. I incorporate wide and narrow boards out of choice, not because I’ve cut too much off of a piece and need an extra inch of width.

I arrange pieces to highlight certain spots, move a person’s eyes across the surface and create a sense of playfulness or tension through contrasts or even create abstract or representational images.

And if all goes perfectly right, people will see a functional piece that transcends its function to tell a story that celebrates the materials, its owner client or myself.

If you’re interested in seeing the finished version of the table highlighted near the top of this post, it will be on view (and for sale) during Birdhouse Interior Design’s HOME event at Bancroft Street Market, starting December 2. Limited tickets and other details can be found here.

I know, it’s a little out of  character. For a long time, I was pretty opposed to using the heavy wafer cookies of the wood world. I thought it was cheap, characterless and inauthentic. Any time I saw something made of plywood, I would scoff and turn up my nose. But in the past year or so, I’ve come around a bit to the realization that a good quality plywood is a modern, cost-effective material. It saves a tremendous amount of labor while providing a strong, uniform surface. So while I still turn my nose up at it sometimes, I’ve embraced it as an affordable way to make some useful, cool pieces for some even cooler clients.

My most recent plywood projects have been desk tops. First, for the new Grain & Mortar space at the Mastercraft. The simple, unadorned desk tops I made to top off the piped standing desks they’re converting to (and fabricated themselves, I might add) include a cup holder for coffee or a more adult beverage.

I’ve been working with similar birch plywood to create a desk with a bit of storage space for my client Justin, a local graphic designer. The more intricate top design has given me another opportunity to use my favorite earth-friendly dry pigment – milk paint!

And since I don’t think I posted much about my spring/summer collaborations with Doug Kiser of dKiser Design.Construct, here are a few photos from the permanent installations we design and built for Bluestone Development’s 9ines and Joslyn Lofts projects.

So there it is. Plywood isn’t so bad. While I still enjoy the variety, uniqueness and feel of hardwood, I’m slowly coming around to the potential of its sheeted cousin. Now, if I can just find a way to fit a 4′ x 8′ sheet into my Ford Focus, life would be perfect.

Another part of my multitasking involves planning and work for a variety of projects, opportunities and responsibilities coming my way in the next few months. The last several weeks have been a balance of balloons and benches. I finished a big bench commission to accompany an Omaha family’s new dining table.

I also managed to sneak in some time to make several different pieces for shows at Kaneko, Omaha’s Hardware Gallery and the Omaha Public Library.

I was planning on decommissioning my ever-growing fleet of hot air balloons for a while, but that ended up being a lot of hot air: I’m proud to say I was recently invited into the roster of Dundee Gallery artists, and so made a handful more of the bulbous beauties just for them. This is my first real commercial gallery exposure, so it’s pretty exciting for me.

If you still have your wits about you after spending some time at Dario’s (or better yet, if you don’t and are feeling in a generous, art-buying mood), check out Dundee Gallery at 4916 Underwood Avenue.

See you soon.

On Friday, October 7 (6-9pm) I’ll be part of Multivariate, the latest Kent Bellows Studio and Center for the Visual Arts Mentor show at the Hardware Gallery, 1801 Vinton St. I’ll be showing a small mix of sculptural pieces in plaster, wood and paper, including a few pieces no one else has seen yet. Along with my work, there’ll be work by fellow KBS mentors Weston Thomson, Alex Myers, Gerard Pefung, Sarah Fettin, Amy Nelson, Jeremy Caniglia, Steve Walsh, Thom Sibbitt, Matt Jones, Dan Richters and Laurie Sewell. If you get there early enough, you’ll probably be able to enjoy some of KBS Director Anne Meysenberg’s delicious baked goods too.

Gladys' Brain #2

Large Red Balloon with Tiny Drawer

The following weekend, I’ll be involved with 3 more shows in 2 days. First, the (downtown) Omaha Litfest’s Art Show, “Possessions” is on Friday, October 14 at the W. Dale Clark branch of the Omaha Public Library (that’s the downtown location – 215 S. 14th St., 4th Floor). I won’t mince words: this might not be the most prestigious of all the shows, but it’s the one I’m most excited about because all the pieces in the show are based on objects from literature. And I’m showing my first ever full-on figurative piece. Based on a minor character from a David Foster Wallace novel, my contribution is a life-size wooden leg sculpture. With drawers of course. Others showing include recent Pollock Krasner Foundation awardee Wanda Ewing, Watie White, Scott Blake, Rodney Rahl, Rob Gilmer, Nolan Tredway and a host of others. Check it out while you’re returning the overdue copy of Infinite Jest you’ve been meaning to read all summer. (6:30-9:30pm; 1 NIGHT ONLY)

"Footnote" in process.

Though the opening reception of the Bemis Center’s Annual Art Auction was last weekend, the real action happens Saturday, October 15. I have one piece in Gallery 3, but, honestly the real reason to go to this show is that it’s the best overview of contemporary work you can see in this area every year. Having been a part of previous auctions and having seen all the work in this year’s show, I can say it’s the strongest body of work I’ve seen in a long time.

The same night, across the street at Kaneko, New York-based author Terese Svoboda is having a release party for her new book Bohemian Girl as part of the Litfest. I’m honored that Litfest organizer and author Timothy Schaffert has invited me to show an installation of my wooden hot air balloon sculptures to complement Svoboda’s release. Apparently, a major plot element of her book is a hot air balloon crash, hence the installation. Here’s a peak at a one of the pieces that will be on display:

Yellow and Green Hot Air Balloon; wood, pigment, sandpaper, string

So there you go: 3 nights. 4 shows. A bunch of my work, along with an opportunity to see work by some of Omaha’s best visual artists.

Oh, and you who might have noticed there is a lack of furniture pieces attached to the above shows. Have no fear. I’ll be unveiling a few new functional pieces – including one that’s part of a BIG announcement – for the upcoming HOME show being coordinated by Birdhouse Interior Design.

Cheers,

Peter

The design process for this piece was a welcome challenge. I wanted to create something that would complement the Monastery-style table (view it here), but also work within my own design aesthetic.

Since the table has a significant presence in the space, I also wanted my pieces to sort of take a back seat as opposed to being big statement pieces that I’m usually asked to design.

The pieces will be constructed with white poplar, a sturdy wood that’s championed for its straightness and stability. After a light sanding, I’ll apply a layer or two of white milk paint, an environmentally friendly, natural pigment, water-based paint I really love. I’ve been using it for a year or so now and have turned several other people on to it. Although I haven’t found it locally, I’ve had excellent results ordering it online from The Old Fashioned Milk Paint Company. You can also make it, but I’ve never attempted that myself.

Finally, I’ll seal everything with a satin polyurethane or lacquer, since the paint tends to be sort of chalky after it dries.

I’m working these babies into my increasingly busy Fall schedule that will include pieces in 3 different local art shows in 2 nights, as well as some more installation work with my buddy Doug from dKiser Design.Construct.