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INFORMATION |
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Marquetry Murals is
the business name of craftsman Gene Zanni. He collaborates with artists but is not an artist himself –
although he may have the soul of an artist.
The craftsman
discovered the new way wood could look, but the artists are the
practitioners of beauty and the communicators of the spirit.
Marquetry Murals is where they meet and meld.
Marquetry Murals is a
sole proprietorship that serves artists by doing the craft work for them
or by teaching them how. It
is also a co-op shop where each participant is his own sole proprietor,
but is pledged to help others. A NEW
PHILOSOPHY
Over the past 3000
years, the emphasis in marquetry has always been on the detailed skill and
patience of the craftsman as he joins tiny pieces of veneer perfectly into
geometric, repetitive patterns. Mostly,
it’s been a decorative art for furniture.
The design usually originates from the unschooled woodworker’s
point of view. Marquetry Murals regards veneer as a medium for art equal to paint, marble, and bronze, and deserving of as much study. Our emphasis is on the genius and subtleties of the design and the glory that the natural beauty of wood can give it. The message of the art is primary; the craft is servant to the art. A
NEW STYLE
Marquetry Murals encourages artists to design with large cuttings
of veneer in order to use the special
properties of wood: shifting
light, infinitely chaotic pattern, texture, warm natural colors, and a
kinship with the spirit. For
that reason, we only do large pictures. In
addition, we suggest using inlaid wood lines around all the pieces because
they create a hard edge that allows juxtaposition of similar colors and
patterns and still show the individuality of each cut.
Sometimes the lines are brass or copper. The
see-through style of the Yunnan School is a favorite.
The
use of bleached quilted maple is becoming a symbol for the spirit in much
of Marquetry Murals’ work.
Art
that is figurative but at the same time abstract with heroic line seems to
fit marquetry the best. Realism and portraits are very difficult. A NEW LOOK
Traditionally, finished wood has had a yellow or amber cast to it.
That’s because nearly all clear finishes are yellow to begin
with, because they darken as they degrade with UV light and age, and
because nearly all wood surfaces lose color to oxidation and UV light.
Because we use refined shellac and tweak it with chemistry, nature’s
most beautiful wood finish stays crystal clear and non-yellowing. As a
result we can reveal a palette of colors and a visual depth that is new to
the world of fine art. THE MATERIALS
We use only natural wood veneer
sliced or peeled from the log, not reconstituted, paper backed, or
pre-glued. The one exception
is a jet black dyed veneer from Switzerland that we use as a substitute
for ebony, an endangered species.
The veneer is permanently glued
to Baltic birch plywood, and the picture is usually framed in walnut.
Lines are made of wood, brass or copper.
The finish is the purest grade
of clear shellac. We usually rub it out to a high gloss to allow as much
light as possible to reflect from the wood.
Other finishes are possible. ONE
OF A KIND?
COPYRIGHT? LIMITED EDITIO
The copyright always
belongs to the artist unless he otherwise assigns it.
Whether or not there is more than one version of an image is up to
the artist. A collector's
ownership of a piece is not automatic title t
Each of our pictures
is assembled from scratch. Each
version of the same image absorbs just as many hours, materials, and
expense as the first. Marquetry
can’t be produced in limited edition the way an offset press can stamp
out duplicates. Every piece
is painstaking hand labor.
Each is a “one of”
original because every cut of veneer is individually chosen for its own
particular pattern and color. The
image might look the same at first glance, but in it, no two cuttings are
identical, and species may have been changed. THE
IMPORTANCE OF LIGHTING
The right light makes the marquetry magic;
poor lighting leaves it common. We recommend two 100 watt fixtures of white halogen light with a color temperature of 4200 Kelvin that are above the frame and about 45 degrees to each side of the picture. This bright lighting will show off all the depth, color and chatoyance in the picture, and the angle will direct glare away from the viewer. CA Keep the picture out of wet or humid surroundings and out of direct sunlight. Dust it with a soft cloth occasionally, but do not wax. Scratches or other damage to the surface can be repaired by a restoration expert who knows how to work shellac stick and hot knife. Do not expose the picture to heat above 115 degrees or below 40 degrees. GUARANTEE
We strive for near perfection, and all pictures are only sold when they meet the standard. They are sold as is. However, if you later find a defect that mars the art, talk to Gene Zanni. During his working lifetime, he will repair it, or replace the picture, or refund your money, or politely reject the claim and do nothing, at his option. QUESTIONS ? Do not hesitate to call or e-mail with any question or comment.
MARQUETRY
MURALS 5323
FRANKLIN ST., VANCOUVER, WA 98663; TEL/FAX:
360-695-8341; E-MAIL: ZANNI@PACIFIER.COM
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