Andrea Sherrill Evans
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Artwork
Flora
a void
Studio Process & Material Making
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
Marker
Woodlot
Siblings
Projects: 2007-2011
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
CV
About
Contact
Links
Andrea Sherrill Evans
Home
Artwork
Flora
a void
Studio Process & Material Making
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
Marker
Woodlot
Siblings
Projects: 2007-2011
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
CV
About
Contact
Links
Studio Process & Material Making
>
Charcoal
Pieces of dry wood have been cut to size and placed in metal containers with lids, wrapped with wire to secure them. A single hole punched in the lid allows for hot air to escape. 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, and then to cool overnight.
2019
The next day, with the fire and metal tins fully cool, the charcoal can be retrieved.
2019
Tins of charcoal removed from the fire (Altoid and tea tins are good sizes for making charcoal.)
2019
Charcoal test #1
2019
Charcoal test #2
2019
Different types of wood and vines produce charcoals with varying softness and darkness.
2019