There once was a family that lived deep in the forest at the foot of
some seven or so mountains, which reached all the way up into the sky
and poked the clouds so that it would rain down on the city below, for
every season.
Harold the hairdresser, who was famed through all
the city for his skill with his blade, had decided one day that he had
reached the furthest depths of his understanding and skill that one
lifetime could afford, and decided from this point to take it upon
himself to smash and hammer hot metal into finer scissor blades, to be
passed down to his successors. From here, he became Harold the
blacksmith, and slowly gained a reputation in this way, although for
each of his years in the city he had lost a single hair, and was now
growing quite bald, he proved to be a dedicated student, even in
stubborn old age. The whole city was in love with him, except for
whoever it was that had to live next to the old man and his family.
"Go
away," they would shout, "All that smoke coming out of your furnace is
like poison, and it's turning all of our meats orange and blue."
Harold
moved out into the country, but even the farmers would yell at him. The
smoke from his furnace was so potent that everyone was sure he was
doing something wrong, but no one could say quite what it was. He tried
moving deep into the city also, to hide among the little cramped
apartments, but it was no use. All the neighbours could tell where it
was coming from, and inside his apartment there was always a thin yellow
film coating all the walls.
"We will have to leave and go live
in the mountains", He told his wife, who promptly left him. She was
already tired of all the horrible smells, she told him, and said that
she could not even taste the food they ate any more, it all tasted like
peas soup, and said that he was unbearable otherwise anyway, in a
general sort of way. Here, with a great sigh of disdain, Harold arose,
and quickly swept up one of his smallest children, not a very important
one as far as notable members of a family go, to go work in the mine in
the mountain, searching for metals to throw into the fire.
Deep
in the cave of one of the mountains, although he couldn't see it,
Harold, the smaller one who was not a blacksmith, could feel his boots
start to wade into water. "Don't go in!" Said two small fishes as they
burst up above the surface, "It keeps getting deeper and deeper, and
soon you will feel like you are out in the ocean, even if the shore is
right there next to you."
"I can do it," Harold said, and he
skipped across the water until his boots no longer touched the bottom.
The boy did not know where he was, nor where he came from, but kept
swimming until he came to a small passage, wide at first, but narrowing
as he went further. The fish were saying something in the distance, but
the boy could not hear them.
At the smallest point, the cave
turned underwater, so that it was impossible to tell if there was any
end to it without swimming in deeper. He went in, down for many seconds,
and the passage was so narrow he could not turn around. The boy was
guiding himself by the stones of the cave, pulling himself in deeper,
when he came across a lizard that had lodged itself in a crack and was
struggling to escape. The lizard grabbed the boy's hand in a fit, but
the boy ripped it in two, not wanting to be trapped down there with the
lizard as well.
When he came out, he took a deep breath, but had
to quickly cover his mouth, as he saw something like the whole darkness
moving in the cave that opened up from the small cavern passage. "Who is
it?" Said the dark. The boy pulled himself up, "Harold," he said, "Do
you have any metals in here?" But there was no answer. He started
shuffling around the open space and saw the very feint light catch a
hill that was sparkling in the dark. Harold touched it, and found that
it was a mound of silver, taller than he could see. "May I have some of
this?" He asked, and at first there was no answer, but eventually a call
came from further into the cave, "Can you find my son? He went in the
small pool you came out from. Did you see where he went?" The boy was
quiet, but eventually saw an orange light flicker in the cave, dimly
lighting up the whole expanse.
"Please go back in and look for
him," and the torch was thrown at the boy's feet, "It won't go out under
water, and not for any reason unless I put it out. If you find my son,
you can have all the silver you can carry back down." The boy, knowing
what he had done, took the torch and made his way as quickly as he could
out of the whole cave, down past the narrow passage, swimming by the
fish, who were now quiet, and up the ladder towards the daylight.
The
boy never returned, but in the numerous cavernous channels that weaved
themselves through the mountains, he found much more silver and tin,
thanks in most part to his torch which would not go out underwater. When
he was not in the cave, the torch would be thrown into a boiler, which
would eventually come to help bring electricity to, and industrialize,
the mountains, where the rest of the townspeople that moved there for
work would have to come to tolerate the smells from Harold the Elder's
small cottage home, as he was there first.
Tuesday, December 9, 2014
Saturday, December 6, 2014
Mosaics Yet Again
We've gone back to making more mosaics the past few weeks. Angela and Chantal started new projects, and Jordan finished his.
Angela is making a tiled support to go under a potted plant. She used a large rounded piece of plywood as the base (originally shaped like a ladybug, but it ended up having its head cut off).
Chantal experimented with using a metal tray as a base for her mosaic. We weren't sure how the tiles were going to adhere to the smooth metal, but the glue did its job and the piece grouted just fine.
And here's Jordan's grouted hotpot/trivet, started a couple of months ago:
I have gone back to making another mosaic tray.
I started months ago by painting a large (10"x13") tile in an abstract motif, using acrylic paints:
I broke up the tile into small and large shards, but tried to arrange it on the wooden tray in the same layout as the original tile (hoping it would resemble the original abstract painting, and also hoping that the imprint of the white maple leaf would somehow remain recognizable).
Some of the paint came off the tiles during the grouting (bummer!), but I decided that the whitish edges didn't look bad, especially with the white grout. The bits of paint that flaked off the painted tile shards somehow got imbedded into (or on top of) the grouted lines, and I decided to leave them in, and varnished over them. It gives the grout a speckled look, which I think looks alright with all the other bits of texture and colour in the piece.
Following Tamsen's instructions for finishing the wood, I sanded the tray edges, and decided to use a stain before finishing with shellac. I ended up using a dark oil-based wood stain, ebony black. I gave the tray edges one (and a half-ish) coats of stain, because I liked the lighter colour of the original wood showing through the stain streaks. I didn't do a great job with the edges (where the wood meets the grout), and had to paint/stain over the outer edges of the grout. This felt like cheating, but it made the finished piece neat enough.
Angela is making a tiled support to go under a potted plant. She used a large rounded piece of plywood as the base (originally shaped like a ladybug, but it ended up having its head cut off).
Chantal experimented with using a metal tray as a base for her mosaic. We weren't sure how the tiles were going to adhere to the smooth metal, but the glue did its job and the piece grouted just fine.
And here's Jordan's grouted hotpot/trivet, started a couple of months ago:
I have gone back to making another mosaic tray.
I started months ago by painting a large (10"x13") tile in an abstract motif, using acrylic paints:
Some of the paint came off the tiles during the grouting (bummer!), but I decided that the whitish edges didn't look bad, especially with the white grout. The bits of paint that flaked off the painted tile shards somehow got imbedded into (or on top of) the grouted lines, and I decided to leave them in, and varnished over them. It gives the grout a speckled look, which I think looks alright with all the other bits of texture and colour in the piece.
Following Tamsen's instructions for finishing the wood, I sanded the tray edges, and decided to use a stain before finishing with shellac. I ended up using a dark oil-based wood stain, ebony black. I gave the tray edges one (and a half-ish) coats of stain, because I liked the lighter colour of the original wood showing through the stain streaks. I didn't do a great job with the edges (where the wood meets the grout), and had to paint/stain over the outer edges of the grout. This felt like cheating, but it made the finished piece neat enough.
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