Woodburning, or pyrography, is an artform now nearly forgotten in the world of art. Yet as a boy introduced to it at ten, something about it, feeling it seering into the soft wood, taking in its aromas, and admiring its handsome nuances was captivating, and that early fascination has stayed with me. In the gentle organic movements of wood and heat and fire Iíve felt a deep identification with nature, and as Iíve reflected on the underlying sciences as well, a sense of connection with the transcendent oneness of life. In it Iíve found an intriguing aesthetic that adds both mystery and meaning to my art.
Over the years I've played with various media they have serendipitously led me, I feel, to something remarkable. In the subtle blends of wood with the subjects I portray I find a visual and textural convergence that is truly engaging. The rich flesh tones, deep earthy hues, and imprinted markings of burnt wood combine handsomely with portraiture and wildlife on poplar and maple. The grains of oak, birch, and fir infused with color offer rich tonal underlays and evocative parallels to the ethereal textures of the atmosphere, gentle ripples of skies and water, and the undulating stratifications of landscape and terrain. In the last fifteen years Iíve experimented as well with the emerging tools of the electronic arts. In many of my fledgling works on wood I've found intriguing precursors for extrapolations through these forms which unbind the woods from their elemental limits yet preserve their exquisite qualities. These have led me to my current explorations in several of these forms which Iíve collectively called pyrographics.
To be a part of and to collaborate creatively with nature is a spiritual experience for me. I find peace in its internal harmonies and unparalleled beauty, and a sense of connection with life in all its wonderful diversity. As a result I also feel a mystical bond in my art with what I've become convinced is the artistic and creative Source of it all in the stillness.David Kreider
DEFINITIONS AND TERMS
The following definitions and terms are used throughout these galleries to describe my work and techniques and are linked to this page for reference. Feel free to correspond by email or phone for futher clarification if you have questions about what you are seeing and are interested to learn more.
Original work in wood refers to a rendering on wood usually involving burning and/or transparent colorant applications as described above. Colors are generally home-made stains comprised of pigments in lemon or tung oils, oil pastels, or pencil.
Original graphic arts print refers to a derivative work from one or more precursors or intermediates on wood manipulated through various electronic tools. These derivative works are printed individually by me on an Epson 7800 Stylus printer using Epson's state-of-the-art archival pigmented inks and on museum-quality archival papers and are individually signed by me. Though similar in a family of first-generation images, as individually-printed works each will vary from one to another at my discretion.
Fine art reproduction is a closely-matched image on paper taken from a work on wood initially sold as an original work of art. These images are created either by offset printing press (several of my early works were reproduced by this method under my supervision) or by digital printing on an Epson Stylus Color 7800 using Epson's archival pigmented inks.
Museum or archival quality means 100+ year longevity against deterioration in the quality of the image under "normal interior lighting", and is referenced to a standard used by the Wilhelm Research Institute in the testing of arts media. The inks I use are pigment-based, (as are high-quality artist's paints and preferred to dye-based inks for longevity) and have surpassed the 100-year mark in ongoing testing by the Wilhelm Research Institute.
Pyrogravure colorée is a French term referring to work combining both pyrography, or woodburning, with colorant applications.