COMING SOON!
Rob Hammer Photography
Meet the Artist:
Biography:
WILD WEST
For your Consideration:
Lynne Buss
Marquetry Landscapes of THE WEST .
Meet our artist:
Lynne Buss
My education and early work background are in manufacturing and mechanical engineering. After several years, I found myself seeking more creative work. Marquetry has been the perfect medium for me. It allows me to work in a tangible way, with a broad variety of woods to depict the soothing natural world of mountain scenery. Since 1985, I have shown my work at art shows, exhibitions and galleries. By continually seeking improvements in design, technique and materials, marquetry provides me with a rich source of problem solving opportunities that drive the creative process forward.
Capturing the beauty of mountains, lakes and valleys in natural wood varieties is my specialty. The variety of colors, textures and figuring available in the wood world is more extensive than most of us realize. I select from among the natural colors of individual wood species to bring out the best contrasts between all features of the design. My hope is that my sceneries will be a reminder of the spectacular beauty of our natural world.
Marquetry Landscapes of THE WEST defined:
What is the difference between marquetry and inlay?
The difference between inlay and marquetry: in marquetry pieces of wood veneer are applied to the surface of an object, such as a table top, while in inlay they are set into a depression
Lynne’s Technique:
Working from a prepared line drawing of the scenery being created, pieces of carefully selected exotic and domestic veneers are roughly cut for each feature of the design. A “saw pad” is constructed layer by layer incorporating each of the veneer pieces according to its place within the design. Using a motorized scroll saw, each feature is then cut away from the saw pad in turn. Once cutting is complete, the pieces of the” puzzle” are then sorted and taped together. The scene is then glued, applied to a backing board and clamped in a vacuum clamp. When secure, all the tape is removed and allowed to fully dry before sanding and finishing. Each piece is then mounted in a handcrafted frame. The back is finished with black felt, D hangers, framing wire and a description of the woods used within the scene.
- Marquetry Landscapes of THE WEST for your consideration as matted prints in 2 sizes: 8″x10″ @ $32 and 11″x13″ @ $40
- Original Marquetry maybe available for your consideration varying sizes.
- Please call the Gallery for availability of these marquetry as originals for sizing and pricing if not listed below.
Details of Original Marquetry :
This fascinating geologic feature is seen near Boulder.
The wood types seen in this print of the original marquetry scene are: Sky – Purpleheart
Moon – English Sycamore Stars-Cubic Zirconia Mountains – Wenge
Flatirons – Figured Red Oak Flatirons Hills – Bloodwood Plains – Curly Maple
Cottonwoods – African Satinwood
Details of Original Marquetry:
Named for explorer Zebulon Pike, this majestic mountain graces the Colorado Springs skyline.
Sky-Purpleheart Stars-Cubic Zirconia Moon-Sycamore
Mountain snow-Sycamore and Curly Maple Mountain-Makore Foothills-Wenge
Rock formations-Buttonwood and Curly Maple Shadows-Bloodwood
Foreground-Walnut Stump Frame-“Java” Stained Solid Red Oak
Allen Voss
ALLEN VOSS
Allen resides in Littleton, CO and has been representing his work locally since 2021. He has shown in such venues as Little Art Guild, Lone Tree Arts Center and Golden Foothills art Center. He specializes in oil landscapes, still life and portraits in oils. He is graduate of the Carder Art Academy and continued to gain his skill set under the instruction of Paul Ingbretson from Boston School and Andres Tishler working on his approach to landscapes. He is inspired by his travels, nature and life experiences. Allen views his current body of work as a constant and relentless pursuit of the “breathtaking experience”. His interest in painting and his creations in oil paintings of quality work are his passion and commitment.
Susan Slomski
My love for oil painting incorporates my love for the landscape, for color, light and place.
Susan began studying oil painting in high school. Her first large scale still-life won The Golden Key Award from the Boston Globe. A portfolio review of her work won the Blue Ribbon from the Massachusetts College of Art. Susan went on to study fine art, majoring in Fine Art and oil painting at Skidmore College in Saratoga Springs, NY. There she studied with artists Jeff Elgin and Pat Cauley and minored in Art History. In the late 90’s Susan returned to Worcester, MA for a brief period and studied with professional artist and master color theorist Bill Griffiths at the Worcester Art Museum. Her work with Bill Griffiths strengthened her love for color and color theory which she employs in every piece.
Born and raised in Massachusetts, Susan moved to New Mexico following her Graduate Degree from Lesley College in the early 1990’s to be immersed in the landscape that inspires her and draws her in. In 1999 her work took her to Colorado where the light and landscape continue to shape her work. Susan is a member of the Heritage Fine Arts Guild and a former juried member of the Littleton Artist Guild, both in Littleton, Colorado, where she exhibits work locally.
Carl Farmer
Scot Fitzgerald
Growing up in rural Colorado, Scot Fitzgerald spent countless hours out enjoying the wonders of the natural world. His fascination with rocks actually led him to a career in chemistry. His professional life has been as an analytical chemist specializing in radiochemistry in the Pacific Northwest, however his heart has remained solidly in the southwest. Over the years Scot has enjoyed woodworking of all kinds and lapidary work (using stones to make jewelry). These hobbies naturally progressed to doing stone inlays in wood turnings which perfectly blends his two loves. Part of the process that Scot appreciates is hiking to find and harvest the wonderful materials he uses. Examples of these include fallen trees and gem stones that he can dig for himself. Scot then combines his abilities of perfection in quality with creativity in design. Natural voids in the wood are filled with stone precisely fitted to their individual openings and each bowl receives a minimum of 20 hand rubbed coats of finish. Like his father Richard Fitzgerald (well known and award winning wood turner), Scot’s designs reflect the southwest Anasazi pottery and culture. Although he prefers to use material that he can harvest in person, he also uses a variety of exotic wood and stone. Scot has long done custom work for friends and family, but now that his father has retired, he is offering his talents to the public.
Scots bowls are a labor of love that demands time and attention to detail. Each one has over 20 coats of hand rubbed finish and sanding between coats.
Wood Vases
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