Show Notes
See pictures and read more on materiallyspeaking.com Judith’s workshop is in the 10th arrondissement, tucked away in a courtyard behind huge iron gates where tall white buildings house workshops, and motorbikes and cars are squeezed against the walls. There are lines of plants in terracotta pots and a small white dog. Judith greets us in her office where a history of her instruments line one wall – some with painted gold detail and others with fine marquetry work in wood. She makes instruments on commission for professional and amateur musicians, ranging from promising students through to well-established performers, from all over the world. She also creates instruments for Swiss and French music conservatories and does restoration work on old viols. In her light and airy workshops, we find a large store of seasoned wood including many triangular shapes ready to form the instrument, and shelves holding a rich assortment of spirits, glues and waxes. She speaks about how she sources the wood in the Jura and how you can tell the age of the wood in an old instrument, and judge the climate over the years, through the stripes you see in the wood. There’s a half finished instrument in a vice on a workbench and Judith runs through the process of creating her instruments for us, each of which takes a couple of months to complete. All the tools of Judith’s craft line the walls, including a fine selection of blades. Judith talks of the pleasure both of making the instruments, and of hearing them play in the hands of their final owner. judithkraft.net In 2018, Judith Kraft was named Maître d’Art by the French Minister of Culture.
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See pictures and read more on materiallyspeaking.com Yemisi currently lives in Stockholm but has worked in Pietrasanta since 1999. She lived here for 15 years and creates in marble, granite and bronze. Yemisi's love of animals started at a young age and they are a frequent theme in her work. Yemisi had four aquariums in her room as a child, and tells us why she finds the animals’ anatomy so fascinating. She studied the anatomy of elephants, hippos and rhinoceros in depth and finds in them a testament to ancient times. This interest really comes to life in the foundry, where we watch the final patinas being applied to her series of hippos, each piece brought to life through a distinct choice of colours. Yemisi talks through the process from when she brings her models into the foundry and explains the lost wax process. She also shows us her current series of female torsos and tells us about her grandmothers, and her passion for depicting strong independent women in her sculptures. Yemisi works with a range of stones including marble, Swedish granite, Indian granite, Swedish porphyry and Spanish alabaster, and explains how each of them needs different tools. Recently, she completed a public commission at Bleket bathing place in Tjörn, Sweden, carving directly into the existing granite. She reveals to us how she approached working with this community in another part of Sweden from her own, and giving them something memorable which also blended into their environment. Yemisi was attracted to the challenge of drawing monkeys when she saw how fast they moved. She created a series with a new angle on the old fable of the three monkeys, reversing the original moral this time to encourage listening, talking and expressing. She hopes that listening and speaking out can help resolve modern day issues in society. For this episode we met Yemisi at Fonderia Artistica Versiliese , founded in 1975 in the centre of Pietrasanta. This family-owned foundry is now run by the three brothers Tiberio, Franco and Gabriele Lucarini. Links yemisiwilson.com instagram.com/yemisiwilson
Guarda le immagini e leggi di più su materiallyspeaking.com. See pictures and read more on materiallyspeaking.com including a full English transcript. Questa settimana incontriamo Franco Casoni, maestro intagliatore del legno, per scoprire come realizza le polene, ovvero le figure di prua delle navi. This week we are meeting Franco Casoni, a master wood carver, to find out how he creates ships’ figureheads — known as 'polene'.
See pictures and read more on materiallyspeaking.com Widely recognised as the inventor of organic cubism, Pollès has created his own private laboratory for the creation of his singular sculptures.
See pictures and read more on materiallyspeaking.com Ko Yamazaki was born in Japan but at 17 he went to Paris to study before finding his second home in Italy, working with marble. Today Mike Axinn and I are back in Studio Pescarella, on the outskirts of Pietrasanta to chat with Ko Yamazaki. Originally from Kyoto, Japan, Ko has been coming to carve in Pietrasanta, Italy, since 1992. We find him working in the sunlight, polishing marble in his outside workspace under a hot tin roof. On his cavalletti are some rounded Yin and Yang forms which he is polishing. Born the child of teachers, Ko’s mother was an activist and supported many causes. At the age of 10, he was surprised to find that the summer camp he was sent away on, was for communists. This encouraged him to reflect on the impact of politics from a very young age. Ko’s early life was moulded by a rich blend of activism, creativity, and a sense of independence; he often spent time with his grandmother while his parents worked. At 17, Ko left Japan for Paris and, although young, he was accepted at the Sorbonne to study art. Initially drawn to painting, he soon realized he didn’t enjoy the solitary nature of painting. His father suggested he try Pietrasanta, a town renowned for its marble and artistic community. First Ko stayed with his father in his workspace, and took odd jobs helping out at the foundry and delivery jobs for the galleries. Ko was captivated by the energy and possibilities of working with stone, and decided to stay. He describes his first attempts at sculpture, including carving his own hand in marble, an artwork that was stolen. Established artists, and artisans, helped him shape his learning, and develop his approach in conceptual art. He works in wood while he is in Kyoto and stone when in Pietrasanta. He divides his working life between the two. He also sometimes creates in clay and plaster. An avid reader, Ko has always been influenced by his Japanese heritage of the creation of paper.