CARVED WORK & COPPER IN COMBINATION.

Carved oak and copper sit well together.  When the materials are new, whether the oak is used in its natural ‘honey’ colour or traditionally ‘fumed’ through a range of soft blue/greys and tans right through to the deep rich brown of bitter chocolate it complements the soft warm glow of copper perfectly.  As they weather, the copper at first moves through a spectrum of bronze tones, whilst the oak begins to lighten.  Within a year or so, or more quickly in an exposed site, the oak will have bleached to silver, its grain becoming more textured as times goes by.  Slowly, the copper will take on a gentle bloom that will eventually turn into the soft emerald of verdigris.

 Green Man with Acanthus. Water sculpture for 17th century garden in North Devon.  In this instance the carving is in sweet chestnut, a durable wood not dissimilar to oak. The garden is frequently steeped in a heavy dew that has accelerated the weathering process in both materials.

Lusty, sensual ‘Pan’ one of the principal revellers in the bibulous entourage of Dionysus.  Carved in oak with detailing in copper.

Two oak and copper water spouts.

The photograph above shows a water spout with a built in water catcher.  The reservoir and pump is located behind the figure and the catcher designed so that there is never more than an inch or so of water in the bottom.  The empty catcher acts as a sounding cavity both amplifying and echoing the splash of the falling water. It produces a sound reminiscent of water running in a cave.  The piece was originally designed to be set in a dark shady bower.