ALLAN PIRTLE - Sculpture
One of the enduring memories was the coastal uplift and all the exposed paua left on the rocks.
The quake was the impetus for our move to Nelson, which ultimately led me to begin my creative journey , my own uplift out of a terrible event.
In Nelson, I met someone who had a beech burl that his grandad had given him. He was not going turn it and was selling all his turning tools. He gave me the Beech. I looked at it for ages because if I had turned it, most would be lost in shavings due to the shape.
In the end I worked with the natural contours and apart from hollowing the face, its shape is largely as I got it.
Big Beech burl pieces are hard to find.
A slab of Rimu from a local renovation is repurposed , carved and stained as the base
"Uplifted" emerged from the shavings as a result. Art and beauty out of the shaking and destruction.
The quake was the impetus for our move to Nelson, which ultimately led me to begin my creative journey , my own uplift out of a terrible event.
In Nelson, I met someone who had a beech burl that his grandad had given him. He was not going turn it and was selling all his turning tools. He gave me the Beech. I looked at it for ages because if I had turned it, most would be lost in shavings due to the shape.
In the end I worked with the natural contours and apart from hollowing the face, its shape is largely as I got it.
Big Beech burl pieces are hard to find.
A slab of Rimu from a local renovation is repurposed , carved and stained as the base
"Uplifted" emerged from the shavings as a result. Art and beauty out of the shaking and destruction.
Allan Pirtle
'Uplifted' Hand sculptured beach burl 460mm x 495mm $1,250 |
'Uplifted'
Close up detail |
'Uplifted'
Back of scultpure |
'Uplifted'
Close up detail |
'Walnut Fire'
End grain turned walnut dyed in a fire inspired style with a fire resin inset on a macrocarpra base 110mm x 250mm $440 |
'Night Ocean'
Large kauri platter on a kauri pedestal. Air brushed dye, oiled & waxed on a painted base. Inspired by watching the Nelson seaside shimmer on summer evenings 60mm x 390mm $575 |
'Green Distressed Platter'
Macrocarpra & epoxy resin turned to a transparent platter 20mm x 210mm $365 |
'Walnut Glow'
Black walnut. Red resin inset rim to let the light through 70mm x 180mm $460 |
'Ash Trumpet Bowl'
Stained black, lacquered, polished & gold embellished 60mm x 160mm $345 |
'Walnut Bowl'
Black walnut. Oiled & waxed 60mm x 135mm $155 |
'Macrocarpra'
$440 |
'Walnut Fire'
End grain turned walnut dyed in a fire inspired style with a fire resin inset on a macrocarpra base 110mm x 250mm $440 |
'Spalted'
Spalted & figured unknowntimber with worm holes. Dyed, oiled & lacquered, polished. Inspired by the pictures of earth from space 80mm x 190mm $460 |
'Natures Way'
Unknown spalted timber, worm eaten & nearly lost back to nature. Dyed & waxed 80mm x 160mm $345 |
'Turned Green' (Fresh Cut)
Unknown Timber. Left to distort as nature chose. Oiled & left simple 110mm x 150mm $195 |
ARTISTS' BIO
ALLAN PIRTLE
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Allan Pirtle is a Tasman based Wood Turner and Timber Artist-Sculptor.
'I come from a family that has always collected and produced art in various mediums. I guess it was inevitable I would follow at some stage. Living in rural Richmond gives me space for a dedicated turning shed and resin room. It also gives our family room for dozens of animals including two Greyhound brothers, and yes, my boy is the black hound. It may look like he is leaping in the logo, in reality he’s sleeping….. My timber comes to me from various sources such as recycled timbers from renovations and local trees being felled due to size/proximity to houses, disease etc. My home is an older property with some large trees that have died or were planted too close to important stuff, like the house. When they come down I snaffle away the timber awaiting inspiration. I have had a lifetime love for wood with all its natural beauty and infinite variance. Turning was a natural path into timber art for me. Power carving and other work has followed. Adding resin was a next step allowing me to introduce colour and light into my work. I work with an evolving style and often let the wood give the direction for each piece. Creating is a tonic and an escape.' |
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