'Yukon Seasons' (Left Moose Antler - Phase 2) by Shane Wilson

Well over 150 hours has been spent on this phase. Once the drawings were transferred to the antler, it was necessary to create the remainder of the design in such a way that the animals received maximum exposure for relief work and still looked reasonable from all angles.

Part of the challenge with this piece has been to create a design that is pleasing from the front, as the work will most likely be viewed initially from this angle. If you note from the initial pic of the whole, the antlers are tilted in towards the centre. This means that it was necessary to incorporate the borders of each antler into the overall design, so that the eye is drawn into the composition and the viewer moves unconsciously into a position to see each antler from its most advantageous angle. Otherwise, the relief work, which is intended primarily to be viewed from the perpendicular, will seem flat, distorted and poorly executed.

Yukon Seasons by Shane Wilson, in progress, left phase 2 (carved moose antler and skull)

On the left side border, I have chosen to represent the predominant atmospheric conditions during winter in the Yukon, snow and ice fog. These create the impression of a frame around the central composition, enticing the viewer to move into a better position to see the relief work from the proper angle. These two design elements, snow and ice fog, are represented by geometric shapes, hexagons and triangles, and will be carved in shallow relief and of different sizes to represent depth of field, as if the viewer was in the midst of a snow fall or peering through ice fog on a -40 degree day.

The trees at the top of the antler are either stripped of leaves (deciduous) or burdened with snow (coniferous). They are meant to appear at various distances from the viewer - and the ground, composed of negative space, is meant to be covered with snow. In the winter, there is normally less snow beneath the trees, so I have chosen to ground each tree by creating the image of an ovoid depression (in nature, a negative space) as a positive space, relief element. (How true, in art, that often to achieve a realistic effect, "you must 'lie' in order to tell the 'truth'"!)

The moose and the wolf are surrounded by the continuation of negative space, the continued representation of snow on the ground. The back right leg of the moose, seems to disappear behind the wolf because it is in the deep snow. In fact, wolves are able to hunt moose in the winter when the moose are slowed breaking through the crust into deep snow. The wolves, with their large paws and lighter bodies, remain above the crust, retaining superior maneuverability. The lower border of the winter scene is a positive representation of snow on the ground. Note, the paw of the wolf barely sinking into the skiff of powdered snow above the crust.

The segue into spring occurs below this line, with the bank of a river. The rotting blocks of ice that normally line the banks of a river in the spring are represented by the angular edge. The negative space below this represents open water, which always seems to appear along the banks of both rivers and lakes. The larger geometric shapes below the open water, represent the large blocks of ice that race downstream, colliding with each other in their chaotic race for the sea, and which often form the ice jams which cause flooding in riverside communities throughout Yukon and Alaska.

As a final element of spring, I had intended to morph the ice flows into migratory birds, however, the design just didn't work when applied to the antler. Instead, I have created an abstract Sandhill Crane within the ice flow itself. The wings and tail project over the border of the antler, while the neck and head extend along the shaft of the antler that attaches to the skull. The Sandhill Cranes are my favorite migratory bird, as they pass over my home in Faro each spring (and fall) by the tens of thousands.
(moose antler skull carving, moose antler skull sculpture)

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