Scottie by Vern Robinson Carved wood limb detailed and textured in pyrography and inlaid with a photograph portrait Hummer by Vern Robinson Carved wood limb detailed and textured in pyrography and inlaid with semiprecious gemstones

Vern tells about the hummingbird walking stick (above right): "As for the hummingbird and the inlaid jewels, it was just an idea I had. I had bought semiprecious gems at a fair, not knowing what I was going to do with them. While carving the hummingbird, I was thinking about their magnificent colors when the sun catches them. Not wanting to paint any of my carvings, I thought of the gems I had bought. I wondered whether, if placed strategically, they might offer the color I was looking for. So I gave it a try."

Vern on how he learned: "I have never taken any classes, or read any books about carving; it was all trial and error--and Band-Aids, and more Band-Aids." Vern's father was born in Jamaica, where native carvers have perfected a technique for holding their work between their knees or feet while carving, and that is how Vern holds his pieces when working on them. His pyrography follows as an integral part of the sculpture. Inlaying stones and other things is an additional enhancement not used on every piece but only for those special ones that call for it.

Vern on how he shares his knowledge with others: "I have taught a couple of woodcarving classes," Vern continued, "and have always begun with the basics. I set up carving classes in correctional facilities for youths, who had little patience and a desire for immediate results. So I showed them my scarred hands and the first aid box with a needle and thread. They asked me 'what's that for?' and I told them 'if you use your tools without knowing how to take care of them, we will probably have to stitch you up.' They all looked at me wide-eyed, and said 'okay.'"

Besides his autobiography on his own website, Vern Robinson was featured in the last issue of the E-Zine posing with his chimpanzee walking stick and telling his story in regard to pyrography as a healing art. Since his pyroengraved, carved walking sticks took him on a new road in life, Vern says "The journey just keeps getting better."

Thomas Benally Inlays Turquoise

Freedom Spirit and Golden Child by Thomas Benally The woman's deceased husband's spirit watches over his family below Pyrography, sand painting, colored pencils, pastels, and turquoise inlay on wood panel, 32 in. by 22 in. Image courtesy of the artist and the Red Chief Trading Post

Self-taught Navajo artist Thomas Benally, who shows his art work on the Red Chief Trading Post website, has developed his own technique by combining pyrography, colored pencils, pastels, sand, and inlaid turquoise stones. The themes of his work reflect his Navajo traditions, while his techniques and style of work are his own invention.

Performing Art

Craig "Durf" Durfee Working on a Large Sign Solar pyrography--executed by means of a magnifying glass--on wood panel

Performing arts are what Craig "Durf" Durfee enjoys. His first profession is as a stagehand specializing in lighting and even some theatrical pyrotechnics. A second career grew out of that in professional pyrotechnics--yes, the man who gets to light all those huge fireworks! He took up solar pyrography in much the same way, that is, as a performing art. Durf explains it this way: "I have no art training, so I am a bona fide folk artist..... but the fact is, it seems as though, 'performance folk artist' is most appropriate. Even though I have displayed in several galleries, never have they moved a piece. It's as though 'ya gotta see it to appreciate it.' Even the many people that I tell that I burn designs in wood with a magnifying glass, the better share of them are dumbfounded when they actually see me at work (or play, depending on your point of view)!"

Phoenix Rising by Craig "Durf" Durfee Solar pyrograph on wood plaque, shown approximately full size Durf's start in solar pyrography. "A few years back I was doing some extensive independent study, advertising and marketing, promotion, design, and layout. I was working with a chimney sweep, and we had a small retail store up in Michigan. What we didn't have was a sign. It seemed the appropriate sign would be woodburned. First, I tried a propane torch and found that it bled too much (using a masking would have worked, probably); the next effort was with a soldering gun that was heavy, intermittent, and attached to electricity. Then the light went on, 'when we were kids the magnifying glass that came in the bottom of CrackerJacks (occasionally) would set leaves and sticks on fire.... 'I wonder if...' So, I went inside and dug out a glass, and--lo-and-behold--about 40 minutes later I had a reasonable facsimile of a logo. Then, the more I thought about it, I was both amused and amazed."

Durf's Idea for a Performing Art. "So, the next day when I showed it to the boss, his response was, 'That's awfully small for a sign.' I told him that human nature being what it is, we'd lay the sign out and erect it BLANK, then the days we sat and the sun was shining I'd go lean on it and work. His reaction was, 'How long will it take?'

I said that it doesn't matter because people will drive by and sooner or later their curiosity will get the best of them as they see the graphics taking shape.... sooner or later they will stop and ask 'What are you doing?'

>From that point on, it will be a sign like no other, because when they drive by with someone else along, they will point at this sign and say something to the effect:

'....and the fool stood out here for months with a magnifying glass and did that!' "

Anyway, not only do they talk about it, but they work in little side trips to observe the progress. I have met thousands of folks that might not otherwise have the time of day for me.

Sampling of Souvenirs for Sale by Craig "Durf" Durfee Solar pyrography--executed by means of a magnifying glass--on assorted small wood pieces

Durf did some reminiscing about his past solar pyrography performances and why they mean so much to him. He told about his only ever art show, the Green Bridge Art Show in Bradenton, Florida, and the gratifying experience he had there. He wanted as usual to be 'performing' because he knew that if, like the public, the judges didn't see him at work, they would not have an understanding or appreciation of his medium.

That was when Miss Jo found him. She had brought a group with her to the art show, and, as far as they were concerned, Durf was the hands-down winner. "Turns out, the folks in her company," Durf recounts, "were all blind (some more so than others), and they could 'see' my stuff by feeling--like reading braille. Had a luncheon with them and passed around some pieces....it was really cool to watch them reading it."

Another time, an Asian couple watched him work for about 20 minutes. The gentleman waved his hand over Durf's works spread on the ground and asked him, 'Sell'? Durf smiled and nodded, picked up a couple of pieces to show and told him the prices. He picked up one and again asked, 'Sell?' Durf said the gentleman pulled out his wallet and exposed his cash (lots of cash) and Durf took the $10 for the piece. When the man offered him more, Durf didn't take it, but he says he "sure did appreciate how much they appreciated it."

Still another time, Durf watched a man and his small son ride tandem past him a few times. When they stopped, the father started to explain to his son what Durf was doing. Durf scooped the boy up and sat him down and together they started burning. The boy wasn't quite coordinated enough but was happy watching him, so Durf burned a little necklace for him with his name on it. "His Dad tried to give me some money," Durf said, "I wouldn't take it--like ya can give kids enough attention or love."

The next day, the two were back, and the father said, "We keep stopping and looking at interesting things, and when I ask the boy 'what next?', he wants to come back and see you some more. I'm supposed to meet up with his Mom, but would like to do a little shopping, could you/would you mind keeping him busy for a little while?"

"Gladly, and we burned two more pieces. one for his sister and one for his little brother....the guy flipped me $20 for something that I would have taken $5 for if I wanted to sell them. I just wanted to share the goodness that they extended to me. LIFE IS GRAND."

Craig "Durf" Durfee at Work Solar pyrography on wood round Durf's Technique. "I can get a continuous line.... although on my bigger projects I tend to rough it in with a larger lens and then go back and clean it up with a smaller one, so depending on the grain and the intensity of the sun, the line may very well be intermittent."

I am not of the 'typical mold.' My guess is that I have between 5 and10 thousand pieces in over 30 countries, most of them very simple glyphs..... if they're interested enough to stop, smell the roses, and think about it for a moment, I usually make sure that they don't walk away empty-handed. It's about 'art' not money. It is not what I intended or expected for a driving force (the PASSION) in my life, but--in part because of it--I am a truly fortunate soul.

The Author Kathleen M. Garvey Menéndez learned her pyrography techniques in Guatemala in 1975-1977. Her sister, Artist Sharon H. Garvey, later joined her there to collaborate on a pyrography project designed to promote this art form in the United States by means of a didactic book and a pyrography tool made by Navarro of Mexico. Thanks to the internet, January 2000 marked the beginning of the fourth year of articles on pyrography for the WWWoodc@rver E-Zine, started January 1997, and the third year of the E-Museum of Pyrographic Art, which opened January 1998. In March of that year, the International Association of Pyrographic Artists (IAPA) was formed and members began meeting on line. Linked from the E-Museum's Café Flambé, which hosts the IAPA meetings, is the eGroups uniting_pyrographers mailing list, member list, and chat forum set up by Mixo Sydenham of Australia for IAPA members.

© 2000 Kathleen M. Garvey Menéndez, all rights reserved.

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