![]() ![]() The root of all these words is the Latin canalis, a pipe or duct. It is also related to the word 'channel', and 'canal', the watercourse. Cannel comes through 'cannelure', from the French for a channel, and is used in architectural contexts to mean a flute. The terms 'in cannel' and 'out cannel' refer to the inner and outer faces of any carving tool which has them without specifying an actual tool. The other, convex, surface is the outside, reverse, or back. The concave side is known as the inside, face, hollow, channel or mouth of the gouge. A flat chisel has two bevels and each side looks the same, but a gouge will have a concave surface and a convex one. This prevents the tang being forced into the wooden handle and splitting it.īlades are either flat (chisels) or curved in cross-section (gouges). Another, heavier, ferrule is sometimes fitted to the other end limiting damage to the handle when it is struck with a mallet.īetween the blade proper and the tang may be a shaped lump of metal: the shoulder or bolster. The handle itself may have a metal ferrule at the tang end. Sometimes the word blade refers to all the tool except the handle, sometimes to the immediate part with the cutting edge, depending on context. ![]() It is normally quite straight forward to separate them. The steel blade of a woodcarving tool is fitted to a wooden handle by its tang. This system of ritual belief is the most important basis in Indian culture and ensures its infinite existence.” Abeyta’s father was Diné painter Narciso Platero Abeyta (1918-1998) Ha So De.Author Chris Pye, writing in Woodcarving Tools, Materials & Equipment, describes the parts of a typical carving tool in the following way: I'm more interested in an icon or the idea, which these beings represent. I work to create an interpretation of these deities translated through myself and given an identity devoid of their actual documented existence. Abeyta described his creative motivations thusly: “I want my work to reinforce the ideology of Indian religion, its strength, its beauty and semblance. Abeyta was educated at Santa Fe's Institute of American Indian Arts, the Maryland Institute College of Art in Baltimore, and overseas in Italy and Southern France. Navajo artist Tony Abeyta (1965- ) is one of the best and most collectible contemporary Native American painters. Its size and framing is identical to that of “Equestrian Juggler,” and we suggest that interested parties consider purchasing the pair and hanging them together. It is surrounded by a wide white mat-which is raised about an inch higher than the paper, adding to the three-dimensional effect of the piece-within an elegant wood frame. The white backing is signed “Tony Abeyta” and dated 2011, just below the paper’s bottom edge. “Buffalo Conductor” is mounted on a white backing with its edges exposed. This excellent creation is a reminder that he is quite skilled with other media, too. Diné artist Tony Abeyta is primarily known as a painter. “Buffalo Conductor” is beautiful, unusual, and exciting. This piece presents a rare opportunity to own a three-dimensional piece by Tony Abeyta, one that incorporates wood carving, paint, pencil, and some sort of archaic paper. Below each of the buffalo’s elbows is a large green circle, with black decorations and slight shadows. The paper is dyed yellow and adorned with a variety of designs in pencil. The buffalo is, according to the artist, “making spiritual music.” He’s placed in the center of a very old piece of paper, onto which a list of names and numbers is written. ![]() Its arms are outstretched, bent upward at the elbows. Surrounding the carving is the rest of the buffalo: its legs, its arms, its fur and horns. ![]() The carving itself is a work of art, but its position within the larger whole is what makes it unique. In the center of the image is a wood carving that appears to serve as the mask and breastplate of a larger creature-the titular buffalo. Diné artist Tony Abeyta's creation “Buffalo Conductor” is a three-dimensional mixed media painting. ![]()
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