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Ian Baird

@vindelisart

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So it begins. After what was a bright and warm late September day, a day of apples and gardens, the light has gone, temperature dropped and I need to warm the house
Faggots of fruit wood sticks from spring prunings have dried, last Christmas' tree split for kindling, workshop trimmings, found wood, branches of rosemary, plum and cherry stored over summer to start the warmth flowing through the cottage now. I like autumn, particularly this blend of warm days and cooler nights. Best of both worlds with a small harvest to enjoy. taken in Portland, Dorset, United Kingdom by @vindelisart

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10 days ago

A journey to bring home a new friend to the workshop. taken in St George’s Studios by @vindelisart

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13 days ago

The Wild festival in Winchester Cathedral yesterday, a really beautiful event. More to follow. Caught up with my gal Joan, asked her murderer Beaufort how the flames of hell were still licking his ass after 600 years, and paid my respects to lovely Jane Austen again. by @vindelisart

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17 days ago

All set up for the b-side fringe this weekend. Sadly I won't be there but my chums are minding my shop for me. Thank you lovely people!
I think in the future I need some sort of backdrop or screen to disguise my clutter behind - it looks a bit busy... taken in St George’s Studios by @vindelisart

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25 days ago

Trying out a homemade quill with some lovely Pure Pens Porthcurno ink. Rather like the splatters where I had to go around a corner! More of this random shenanigans!
b-side fringe this weekend at the St George's Studios, so please come along. Sadly I can't be there but my products will be available: turned bowls candlesticks, spoons, sailor's brushes and lots more 😃 taken in St George’s Studios by @vindelisart

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25 days ago

What do you see?
Is it a broken pot?
Is it something badly made?
Is it the wrong wood?
Did the maker make errors?
Is it worthless?

It depends.

I like to make things from the discarded, the things that wouldn't even be considered, the 'less than' firewood.

Because I always wonder, what lies within? What is in there that I can't see. And how can I get it out?

So I try, and I let the material take me on its journey; I'm just helping it on its way.

No two pieces ever the same. No 'exhibition' piece. Every one unique and flawed. Like us

What do you see?

A pot?
A broken pot?
A broken heart?
A fragment that has endured and is now showing you its beauty?

It's up to you.

Tell me... taken in St George’s Studios by @vindelisart

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a month ago

Elder Spell Pots.
I love folklore and the Elder tree, diminutive though it is, it stands proud in the lore of Britain and Ireland.
Associated with hedge witchery, the elder is symbolic of the crone stage of life with the triple goddesses, a symbol of death and rebirth, wisdom, endings and spiritual renewal.
It is said that sleeping beneath an elder on midsummer eve would allow you to see into the faery world, although you may become trapped by them.
There is so much I could say about this magical tree. I've always had an affinity with it. It's the tree for my birth month, December. As a child I used to climb easily into their low branches by the stream that flowed near our cottage.
I found the branch from which I made these a few years ago. Split and showing signs of insect damage, although clearly departed, I gathered it, took it to my workshop, cut it into chunks and stowed it away.
Now is the time. Turning them was tricky with the natural splits. Being small pieces of branch, their shapes were irregular and dictated how they ended up - the wood told me what to do.
So here they are. I called them spell pots as I could imagine them stuffed with magic, bursting to get through the sacred wood that, split though it is, holds everything safely within! taken in St George’s Studios by @vindelisart

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a month ago

Spalted sycamore bowl made from wood grown on our beautiful Isle of Portland.
I'll be making a few more today and they'll be available to buy at the b-side fringe on 12/13th September. taken in St George’s Studios by @vindelisart

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a month ago

Wabi sabi, honouring the imperfections, and yakisugi, scorching the wood to change the colour and longevity, as it makes it more resistant to rot and insect damage.
These are two pieces of a silver birch log that's been sitting in my fireplace since last winter.
I split it down with an axe and deliberately wanted to leave some of the rough axe splits in them as an experiment, to see how they came out with the more even shape achieved by turning on a lathe.
The one on the left was turned then finished with a sloyd knife making that lovely ripple texture like water. The outside was scorched then rubbed back and the split painted with gold leaf paint. Finally polished with beeswax.
The one on the right, and I'm calling it a font as it has a concave inside, reminding me of many medieval church fonts, and it's a chunky piece, has yakisugi interior and this continues into the outside split. After turning, the outside was planed with a block plane into irregular facets, the whole finished again with beeswax.
What do you think? I've always had , since childhood, an eye for the beauty of imperfection. Things that are 'perfect' seem so bland to me. taken in St George’s Studios by @vindelisart

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a month ago

Kintsugi repair of an Imari plate, probably about 100 years old. It was slathered with yellow glue which I've mostly managed to scrape off without damaging it further. Wish I'd taken a before video as it really was covered! I've ground out the cracks at the back. Next step, the glue! taken in St George’s Studios by @vindelisart

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a month ago

Another play with an unfamiliar medium, this time an abstract in pastel chalks.
The idea was to blend colours and just see what happens in a totally random doodle. It was very pleasing, how rough marks from the chalk can be blended and transform in an instant to melt into each other. Next time I'll try something a bit more focussed. taken in St George’s Studios by @vindelisart

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2 months ago

Playing with mark making - I keep finding large feathers on my walks recently and began gathering them. Since childhood I've had a deep interest in inks and old forms of writing and used to make my own quills. I haven't done this for decades, but in an idle moment yesterday I cut one roughly, just to see what would happen. The first letter N was more of a splodge from overloading, but I had 'some' control after that. I liked the fading effect, the inconsistencies, but that I could still have some legibility for at least ten letters on a single dip. I enjoy the colour changes through the same ink as it progresses and the italic style of a nib cut in a moment with more expediency than care.
Ink - Celtic Sea by Pure Pens taken in St George’s Studios by @vindelisart

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2 months ago