Andrea Sherrill Evans
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a void
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Projects: 2007-2013
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Flagging/Fireweed
There Is No Place
Transplant
A Safe Distance
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Double Balaclava
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CV
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Andrea Sherrill Evans
Home
Artwork
New Growth
Drawings
Process & Material Making
On Summer's Margin
Drawings
Installation Views
Botanical Ink Sample Markers
Paper & Inks
Flora
a void
Studio Process & Material Making
Hibiscus syriacus Paper
Fallen Leaves & 1st Snow Ink
Wild Grape Ink
Staghorn Sumac Ink
Goldenrod Ink
"Alley" Ink
Acorn Cap Ink
Black Walnut Ink
Charcoal
Watercolor
Invasive
Invasive Drawings
Invasive at VisArts
Garment for Growth
Creeper
Façade Series
Portable Plant Studies
Firewood
Projects: 2007-2013
Marker
Woodlot
Siblings
Making Amends
Wilderness Studies
Flagging/Fireweed
There Is No Place
Transplant
A Safe Distance
Socks Wars
Double Balaclava
Union Suit, Shirt/Sweater Series
Knitted Objects
Prints
News
CV
About
Contact
Studio Process & Material Making
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Charcoal
Pieces of dry wood have been cut to size and placed in metal containers with lids, which will be wrapped with wire to secure them. A single hole will be punched in the lid, allowing for hot air to escape when placed in the fire.
(Altoid and tea tins are good sizes for making charcoal.)
2019
A fire is built around the tins and maintained for at least 1 hour.
2019
The tins of wood (now charcoal) are left in the coals of the fire. As the fire dies down, the tins are left to cool before removing.
2019
Once the fire is out and the metal tins have fully cooled, the charcoal can be retrieved.
2019
Tins of charcoal removed from the fire
2019
Charcoal test #1
2019
Charcoal test #2
2019
Different types of wood and vines produce charcoals with varying softness and darkness.
2019