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MY WOOD CARVINGS
MY WOOD CARVINGS
Artist /Jan Lockhart
LIFE IS VERY VERY GOOD!!
Unfortunately--or perhaps, fortunately--I have very few of my carvings. In the early days, I had no idea of how I would progress in this medium and did not catalogue my work.
I photographed only some of them, and only a select few were framed by professional photographers. All my carvings were signed with the name Jan S. Calvert.
Above photograph by Jeannie Zimmerman, Sedona, AZ |
Date(s): August 28, 2005. Album by Jan Lockhart. 1 - 13 of 13 Total. |
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1
CLAPPER RAIL
This is the earliest carving displayed here. I loved the lines and the grace of the shore birds, and I concentrated on achievement of these qualities in the rail. This work also began my definition of achieving "movement" in a stationary sculpture, which I think is achieved in this sculpture by the almost "out of balance" position of the rail. So if "out of balance" equals movement, would "balance" equal boredom?
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2
COCK OF THE ROCK
A GAMBELS QUAIL
When I was commissioned to carve a pair of Gambels Quail, I didn't even know what they were, and I certainly never dreamed I would one day live where they were regular visitors to my backyard.
This adorable little blue quail, with his strut and his tassle, was a joy to capture in a piece of wood. The hen is darling but not nearly as flashy as her mate. I later carved her and assembled the pair into a very nice piece that I never photographed.
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3
THE EGG EATER
CHUKKAR PARTRIDGE & BULL SNAKE
A professional-level competition piece requires that virtually everything must be made from wood...so everything you see is made from wood. The carving was commissioned by a big-wig in the Bureau of Land Management, who sent me frozen specimens of the Chukkar Partridge hen, the bull snake, and even the rocks and native grass. My UPS man never knew what he might be delivering to me!
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4
DETAIL FROM THE EGG EATER
CLOSE UP OF THE BULL SNAKE
I love the detail that can be picked up by a quality B&W photo, and this is a good example. The snake (except for the tongue) had to be carved from a single block of wood that was 3" thick. Each individual scale was textured, making the finished piece actually resemble the feel of a live snake. Glad I'm not squeamish!
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5
BIG BLUE
A BLUE CRAB
I had been suffering a terrible artist's block when God whispered in my ear, "Jan, this is the day to start the crab." Being a good listener, I went to the local fish house where fresh catches of blue crabs were being unloaded onto the dock. Allowing for the eccentricities of an "artist," the watermen graciously permitted me to pick out my models.
The crabs had to be alive and kept on ice while I worked. The work was so intricate, I usually got a little nutsy when I carved one. I did a totaly of 5. This is probably the piece that secured my name as a carver.
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6
LUCILLE
A CANVASBACK HEN
The great majority of my students were men, and most were interested in the decoys so prevalent in the history and culture of the Chesapeake Bay. I usually did a decoy every year as a demo. This one of the endangered Canvasback hen, was hollowed and weighted so that it would float properly in a water tank for competitions. When floated, the "grass" rested lightly on the surface of the water. The soft golds, browns, and greys of this duck, make her one of the more difficult to paint well. LUCILLE was the last decoy I made.
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7
TOP O' THE MORNIN'
KESTRAL CATCH AT DAWN
I was once asked how I--a woman--could do such a "blood-thirsty" carving. I answered that in many of the predatory animals, the female of the species is the true hunter. So why should I, a female of my species, be squeamish about depicting such a natural occurance. I feel the Kestral is joyful at his success and the assurance of another day well fed.
(If you click on the picture to enlarge it and look closely, you can see the mouse's little white whiskers.)
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8
TOP O' THE MORNIN'
ANOTHER VIEW
This carving defied a BEST photograph. I love the movement in the sweep of the wings and tail from the back view, although this view does not tell the story as does the other photo. As with some of my other work, I believe the
"movement" is provided by the "out of balance" position of the bird. Its rather like, right this moment, he is still, but he's just about to move. I have tried to incorporate this concept into the composition of most of my carvings.
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9
SIP AND TIP
...a commissioned work of the beautiful and classic Canvasback drake. The undisputed favorite of residents of the Chesapeake Bay area, this duck was hunted to near extinction by market gunners who provided this succulent delicacy to the restaurant trade. Canvasback drakes, with their mahogany red heads, black breasts, and silver-white bodies, were always the most requested of my commissions and the one my students were most eager to learn.
This one takes a SIP of water and TIPs his head back to let the water run down his throat...as some drips from the tip of his bill.
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10
IDA
...a Canada Goose full-body floating decoy. Lem Ward, one of the acknowledged "old masters" of the art of the decoy, mentored me. He challenged me to make a Canada Goose, his favorite bird. Lem insisted there was no difference in the drake and the hen, while I insisted the hen was more delicate and refined. When he conceded I had won that round, he insisted on naming "her" IDA, after his only daughter. An artist and poet, I adored that old man, and treasure all I learned in the old barber shop behind his home, where he and his brother, Steve, had turned out their masterpieces. I will never part with IDA.
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11
WILBUR
A SPAM PIG
Don't laugh, I know this isn't wood, and it honestly is SPAM, the
Hormel canned meat. Several years ago, we were invited to a Spam Party, where admittance required bringing something made from Spam. It could be food or about anything, and I thought nothing could be more appropriate than a pig. We thought it was BABE, but a little girl at the party said, "No, it's WILBUR!"...and she was right. He won the Grand Prize at the party and lived in our deep freeze for a while. He was the guest-of-honor at a luncheon or two before he was "retired"...to put it kindly...for
WILBUR was beginning to smell like a pig. Who knew?
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12
George O'Lantern
This obviously isn't wood either, but I had a great time carving this pumpkin on Halloween 2005. It was an unusual dark green color, with the only orange being an oval on one side. That oval seemed to be asking for something a little different...so I carved President George W. Bush. Democrats might find it very scarey indeed, and that "is precisely the purpose," we joked. It was obviously a success as we didn't have a single trick-or-treater.
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13
ALL DESIGNS and IMAGES
COPYRIGHT BY
JAN LOCKHART 2005
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- Henry | https://sites.google.com/site/setupukoffice/, Fri, 29 Jan 2021 6:50AM |
Jan, I had no idea whatsoever, the extent of your mindblowing talent!!! the detail, and the research to make the works authentic are so exciting!!!! this is a highlight of my evening, seeing these exquisite works!!!! now, where is the Chow??
- Kathleen Zins, Thu, 17 Dec 2009 10:59PM |
Amazing stuff, you've captured Cartier Bresson's "moment" in wood.
- Chuck Coffman, Sat, 10 Sep 2005 10:02AM |
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What a surprise! Is there anything you don't do well. Stunning work, Jan
- Machman, Thu, 8 Sep 2005 5:01PM |
Nice work Jan..Helo to Tom...
- Jim Ginger, Thu, 8 Sep 2005 10:21AM |
Jan, Thanks for shareing. Your subjects have a wonderful way of communicating their situation. What a remarkable talent!
- ~nahkbin, Thu, 8 Sep 2005 7:52AM |
You are a wonderfully gifted sculpter. Your productions are beautiful and perfect in all respects. Thanks for letting us see your fine objects of art at this professional website. Semper Fi
- Mofak, Thu, 8 Sep 2005 7:29AM |
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