'Elkhorn' : ESP

The two previous commentaries have discussed how this work will end up being supported by the Canadian taxpayer (admittedly unintentionally).
Part of the reason I am detailing this whole process, is in an effort to let people get a look at what regularly goes on over the development of a finished work. (Details and complexities often hidden from view.)

'Elkhorn' Coral Element

As I had mentioned in my first overall look at 'Last to See', a big spark that influenced this piece was when I watched 'Ocean Blue' with Silvia Earle. (1)

I was actually shocked as I started to undertake background research into the individual species I would use as the prototypes for the individual component sculptures.
First was the range of effected species. Some, like a number of different sea turtles, I did certainly know about already.
But sharks?
Second was the number of ancient species that now on the brink of destruction - despite having weathered any number of previous mass extinctions. (2)
This combination would become the focus of the selection.

(from my original submission description)

Corals - forged from a combination of pipe and solid bar. Shown as Staghorn and Elkhorn, both Endangered. 240 million years for these types, through 2 Extinction Events.

living Elkhorn Coral

I decided to make this element the first to be constructed. This largely because my intent was to create more of an impression of Elkhorn coral, rather than a more accurate representation.
I have a large amount of 1/8 inch thick mild steel plate, originally sourced as offcuts / scrap on hand here. (3)

Step one was to cut out a set of more or less randomly shaped and sized pieces using the oxy torch. I knew my basic level skill with this tool would result in quite ragged edges. Rather than consider this a flaw, I actually embraced this effect, to create more randomly organic shapes and lines. The size of the individual pieces ranged from about 6 to about 12 inches.
When you look back at the real Elkhorn coral, you can see that I used a more 'mushroom' shaped profile.

The individual pieces were (somewhat intentionally) of a size that would fit easily into my propane forge. Each would be forged into a roughly C shaped profile.

Although the image above was posed with the element cold, it does illustrate the main forging process undertaken for each segment.
Using a bottom dishing stake (this one fits into my post vice), the large end of each piece was dished, most depressed about one inch deep. When doing this, the more ragged edge from the cutting was placed down.
Following this step, some pieces had the 'stem' end contoured but forging with a rounded cross peen against a half circular bottom tool.
Each piece was then given to a roughly C or S shaped overall contour over the horn.
Depending on the resulting contours, these were evened out by working the metal back over a ball stake.

This is all the 24 individual elements after forging, laid out in size order in preparation for welding together.

As it turned out, I had scrounged two pieces of 3/4 diameter steel re-enforcing rod. This material has a set of Z shaped contours on it, which I thought ideal for a central branch / support element. A 24 inch long piece was cut, then forged into a gentle set of random curves. A bolt was welded to the bottom end, which will serve to mount the finished piece through the underlying limestone slab.

Next the individual 'branch' elements were welded on to the upright support

This is the finished piece.
It stands about 30 inches tall, and is roughly 18 inches in diameter.
As completed, all the components have a mottled fire scale surface from the forging. Intentionally, this will rust as exposed to weather once installed in the finished sculpture. In this, it will more closely represent 'dead' coral :

1) I was brought up inside the Canadian Boy Scout movement. This shaped one of my defining characteristics 'Take only photographs, Leave only footprints. (And certainly the cornerstone motto: 'Be Prepared' - which certainly you can see in reflected in my response to COVID-19.) So 'the Enviroment' has long been a major concern for me.
I was involved, at least in a minor way, in the Environmental movement of the early 1970's. We knew, even back then, that Humans were having a major destructive impact on the natural world.

2) I had done considerable background research during the preparation for one of my 2019 ESP entries. The thrust of 'Last to See' was imaging the series of past Mass Extinction events, placing the current 'Holocene' event into context.

3) So far, I personally have not found any problem with materials for this project. As discussed in the earlier commentaries, I only need one type I don't normally hold in standing materials - 2 x 2 inch wire grid. This week I contacted my standard steel supplier, Kreuger Steel in Owen Sound. Although 'to the door' delivery might not be possible, they certainly are able to provide a 'pick up at the gate' purchase.
I may have to source more flat limestone slabs (although I do have a pile of cut stone that would work in a pinch).

(Part 2) CERB and ESP

Part Two : the Canadian Emergency Response Benefit 

and 

the Elora Sculpture Project 

(or - 'So glad I don't live in the USA)

As the Canadians reading this surely know, our various levels of Government responded quickly, based on the available science, to the COVID-19 outbreak. Some might quibble if measures like lock downs were done fast enough. The huge difference in progress of the plague within Canada and the USA demonstrates this clearly. (1)
The Government of Canada announced early that there would be some kind of financial support system enacted to ensure individuals who lost pay because of the 'stay at home' recommendations and increasing closures would still be able to cover their rent, utilities and basic food costs. So far the process has certainly been 'help Canadians FIRST - figure the find details LATER. (2)

As I covered in Part One, I personally have lost all my expected income because of the Government closure of all but 'essential business'. This included two weekend training programs already booked with deposits in April.

So now what?

The other thing intended to undertake over April was building, then installing, this year's entry into the Elora Sculpture Project. (3)
Something important to know is that there is no financial reward involved in participating in the ESP. Entries are chosen via a jury process, and individual artists loan their work to Elora for exhibit over the May to October period. Potentially any piece is available for sale (to be delivered only after the end of the exhibit period). I personally have had work chosen every year since 2013 - but have only ever sold one sculpture (2015 - 'Armoured Fish'). So in total, this has just about put me to 'break even' on the cost of materials for the seven pieces created so far. As each sculpture has typically taken 2 - 3 weeks to produce, any compensation for labour has not happened.

Yes, the first CERB will almost cover the direct losses from my cancelled April courses.
What the second CERB amount will do is partially offset the time I will be using (and the material costs involved) for building the 2020 ESP sculpture 'Last to Sea'

I will leave it up to the reader to determine if this represents 'your tax dollars well spent'...

Part Three : Creating 'Elkhorn Coral' Element



(1) As well as proving the superiority of Canada's Universal Healthcare system.
And the core value of a National Character founded on a principle of Community Standards - over one based on 'Individual Rights'.

(2) Partially for any Americans reading (Canadians know this already)
Initial measures were a direct wage subsidy to employers to help keep workers on payrolls (first 15 %, quickly increased to 75%). Our fairly good Unemployment Insurance system was modified to eliminate any waiting period, and to cover anyone laid off due to COVID-19 effects (either workplace shut down or individual illness).
About a week later, the Canadian Emergency Response Benefit system was announced - a system of payments which would also cover those in involved in the UI system - particularly those self employed like myself.
At least at point of this writing, at the end of the week individuals could apply for the CERB, it certainly appears the mechanism is 'send money NOW - figure out if you really needed the money LATER'. There was no 'needs test' or 'adjusted amount'. Everyone who undertook what proved to be an extremely simple process (despite my earlier concerns and preparations) has been told to expect the first payment within 10 days. (Given the huge volume of applicants, there may end up some delay there - but this should be expected.)
On the 'adjusted amount' side - everyone has been told to expect the identical '$2000 per 4 weeks' payment. Right now the coverage is extended to the first 16 weeks (after March 13). As should be fully understood, this will represent a taxable benefit. So it certainly appears at this date that any 'adjustment for need' is likely to happen via the 2020 income tax mechanism (so into March / April 2021).

(3) See an earlier commentary on how I see COVID-19 effecting the 2020 ESP.

'Working' during a Pandemic ...

Part One : The self employed artisan on lockdown.

On one side, it's not really that much different than usual, at least for this time of year.

We expect considerable snow here in Wareham. The first years up here (so the 1990's) four to six feet was typical. Every winter you could expect normally at least two periods, lasting a couple of days, when we were effectively snowed in here. I've learned, through direct, nasty experience, that if Don has not managed to get the roughly 1 km from his place to mine with his four wheel drive tractor to blow out my drive? Just to stay the Hell HOME that day. Any normal winter, you should expect the power to go out for a couple of days as well (not necessarily the same storm). In fact, given the amount of wind at Wareham, power could be expected to fail a couple of times over the rest of the year as well.

Over the winter at the Wareham Forge, operations effectively shut down. There is no residual heating system out in the workshop. I normally only run the propane forge from roughly November through to March. Yes, this effectively acts as a space heater. But the shop is at whatever last nights low temperature was. In January and February this is typically - 10 to - 20 C. I keep a heater on my slack (water) tub in an attempt to keep if from freezing solid. Also a heater on the anvil itself. (Remember that otherwise that huge block of metal would also be at - 20 C!)
Honestly - in a normal year I rarely go into the forge in the dead of winter.

Put that all together, and it is not at all uncommon for us to go 10 to 14 days without setting foot off the property in the winter. (Other than shoveling as seen, out to the mail box.) Standard supply and grocery trips on that same turn over. 'Stocking Up' is just how we live in the country.

February 28, 2020

As you should imagine - this all directly translates into 'No Winter Courses'. When I don't even want to subject myself to those workshop conditions, I can not for the life of me imagine asking anyone to pay to endure those conditions! In past years, my first program of the year (two students, use of propane forge) was typically roughly the second weekend of March Break, so the third weekend in March.
This year my first program was not scheduled until the second weekend in April.

Yea.
Like this weekend coming up.

As anyone following the Wareham Forge has likely seen, I have cancelled the courses originally set for April and May. Everything else I had intended to take part in originally through now to at least July 1 has also been cancelled.

Not a surprise, given the situation we all are finding ourselves in.

So where does that leave me, living the 'Carefree Life of the Artist'?
Pretty much screwed - that's where.

Even before I had decided to cancel my own scheduled programs through to at least July1, the few reservations I did have had mostly cancelled themselves. New bookings? Not happening.
So add it up.
Essentially no income over January to March (*). (Or for December 2019 either actually).
Now no income for April and May, and nothing likely for June either.

So, 'Self Isolation' ? Piece of cake. Pretty much the same thing as has been going on here anyway. The only small modification is that we are fixing our supply trips to a minimum of every 14 days plus.

Part Two?
CERB and ESP


(*) Ok, not quite true. I did get some film related work. Consulting, Design, Object, Rental. Last payment still outstanding by the way. (Expect a future blog post on that project.)

Oseberg Tripod and Cauldron - Refining the Measurements

This is a continuation of some recent commentaries:

Wednesday, March 11, 2020

Oseberg Cauldron...

Thursday, March 26, 2020

Oseberg : Putting up the Pot

The following are excerpts from the original excavation report :
Osebergfundet, A.W. Brogger, 1917 (volume 2) (1)

Fig. 76. showing Tripod (#134) and large Cauldron (# 133) / from Osebergfundet

Tripod

(1904 no. 134) Stativ av jern for kjelen 1904 no. 133. Det bestaar av tre like kraftige jernstænger med klør. Hver stang, som har en samlet længde av ca. 1,25 m. er smidd i ett stykke av en solid jernstang. Den ender i tre smaa klør, 6-10 cm. lange. Herfra gaar den opover som en flat firkantet stang ca 45-50 cm. hvorefter den fortsætter som en vridd stang indtil den øverst ender i et langt, flatt, spydspisslignende stykke, hvori er et naglehul. Her forenes saa alle tre stykker og gjennem hullene gaar en kraftig, oventil klinket nagle, som paa undersiden er bøiet om til et øie. I dette er smidd en kraftig krok, som ovenfor kroken bestaar av tre vridde jerntener, ialt ca. 20 cm. langt. I kroken hænger saa jernkjedelen. Høiden av stativet kan altsaa varieres. Som det nu er monteret har det en høide av ca. 80 cm. over gulvet. Stativet er praktisk talt helt, bare loddet paa ett sted. Det laa like ved kjelene i agterskibet ved gravkammer. væggen, se Osebergfundet vol. I p. 49.

Translation by M. Vedeler (2)

.. consisting of three iron bars with claws. Each rod has a total length of approx. 1.25 m. Is forged in one piece by a solid iron bar, each of them ending in three 6-10 cm long claws. The bars are square and flat at the bottom (45-50 cm up from the claws) after which they turn into twisted bars ending at the top in a long, flat, spear-like piece, containing a nail hole. At this point all three pieces are joined together. A riveted nail is threaded through the holes, which on the underside is bent into an eye. A strong hook with three twisted iron teeth (bar segments) approx. 20 cm. long is hanging from the hole. . The iron kettle hangs in the hook. The height of the stand can thus be regulated. As it is now mounted, it has a height of approx. 80 cm. above the floor. The stand is practically complete, only soldered in one spot. It was found next to the pots in the stern by the tomb. see Osebergfundet vol.  I p. 49.

‘The large cauldron that belongs to the tripod’

Jernkjedelen no. 2, i det væsentlige ganske som 1904 no. 114, men noget større og kraftigere bygget. Bestaar som denne av en rund bundplate hvortil er klinket alle sideplatene, som igjen er klinket sammen. Den er noget defekt i platene. Omkring mundingsranden er som paa 114 lagt et hult jernbaand helt rundt. Ørefæstene for hadden er litt forskjellig fra 114`s, idet de her er hele plater. Hadden har samme konstruktion, er vridd et stort stykke i begge sider, ender i smaa opbøiede spiraler. Mundingsdiameteren er ca. 50 cm. Den laa i agterskibet ved gravkammervæggen, Osebergfundet vol. I p. 49, vestligst av de to kjeler opi den laa sakene 1904 no. 131. Til denne kjelen (eller 114) hører ogsaa det tregrenede stativ 1904 no. 134.

(translation via Google Translate, with some additions)

Iron boiler (cauldron) no. 2, essentially just like 1904 no. 114, but something bigger and more powerfully built. Consists of a round bottom plate to which all the side plates are clipped (attached) , which in turn is clipped (attached) together. It is somewhat defective in the plates. Around the mouth of the estuary (top opening), as in 114, a hollow iron band is laid all around. The ear mounts for the hat (handle) are a bit different from the 114's, since these are whole plates. The hat (handle) has the same construction, is twisted over a large piece (section) on both sides, ends in small curved spirals. The orifice (upper opening) diameter is approx. 50 cm. It lay in the stern by the tomb chamber, Osebergfonden vol. 1 p. 49, the westernmost of the two boilers (cauldrons) in the laid cases (??) 1904 no. 131. This boiler (cauldron), or 114 also belongs to the tree-branched stand 1904 no. 134.

Second Cauldron

En stor jernkjele (nr. 114), som nu bare er bevaret i fragmenter. Bundplaten er rund og ca. 24 cm i diameter, den er ophøiet i kanten, hvortil sideplatene er naglet og klinket. Naglene har runde hoder paa utsiden og klinkplater paa indsiden. Sideplatene varierer i bredde, de er ca. 10   13 cm brede. De er klinket til hverandre. Ingen er bevaret helt, men det er vistnok klart at de kraftige plater har været gjort i ett fra bunden til mundingen. Omkring mundingsranden er lagt et ombøiet, hult jernbaand. Ørene for hanken er meget enkle og ender i to flate fliker, som er fæstet til yttersiden av kjelen. Hadden er gjort av en tyk jernstang med firkantet tversnit, som ender i opbøiede kroker og disse igjen i spiraler. Hadden er vridd nedentil paa begge sider, men kantet paa midten. Kjelens diameter over mundingen er 47 cm, dens største bredde er dog nærmere bunden.

Den stod tæt nord for gravkammerets nordre gavl.

Til denne kjele hører antagelig en skjerding av iern (nr. 143) som laa sammen med de andre kjøkkensaker i agterskibet (fis. 75).

(translation via Google Translate, with some additions)

A large iron boiler (cauldron) no. 114, now preserved only in fragments. The base plate is round and approx. 24 cm in diameter, it is raised at the edge, to which the side plates are riveted and clipped (attached). The nails have round heads on the outside and tiles (roves) on the inside. The side plates vary in width, they are approx. 10 cm wide. They are clinked to each other. No one is fully preserved, but it is clear that the powerful plates have been made in one from the bottom to the mouth. Around the mouth of the estuary (top opening) is a curved, hollow iron band. The ears for the handle are very simple and end in two flat tabs, which are attached to the outside of the boiler. The hat (handle) is made of a thick iron bar with square cross-section, which ends in curved hooks and these again in spirals. The hat (handle) is twisted down on both sides, but angled (flat?) in the middle. The diameter of the boiler above the mouth is 47 cm, but its greatest width is closer to the bottom.

It stood close to the north end of the tomb.

This boiler (cauldron) probably belongs to a cut (hanger) of iron (no. 143) which lay with the other kitchen items in the stern (fig. 75).


             original estimates         report measurements

Tripod
shaft length        125 cm                125 cm
shaft stock        10 mm
twisted segment     50 cm                not specified
top flattened        11.5 cm to 20 mm
claw length        6 & 10 cm            6 & 10 cm
hanger length        20 cm                20 cm
hanger stock        7 mm

Cauldron
top diameter        55 cm                50 cm
depth            25 cm
handle distance    27 cm               

display height        80 cm                80 cm
display clearance    10 cm
maximum height    110 cm
maximum clearance    35 cm

So - you can see how my few original notes, and estimates generated from working with photographs and scaled drawings, are at least not so far off the reported measurements.

As I had suggested in the first commentary in this set (Oseberg Cauldron...) the interpretation of the top edge as being a flat, L shaped piece is incorrect. The original report clearly states that there is a single piece added to the upper rim, which then would have been hammered out and over to create the "curved, hollow iron band" as described.

Drawing of Cauldron #133 credit 'A.E. Christens - Nov. 94'

Of interest on the drawing also sent to me by Marianne Vedeler of the large cauldron:

- The bottom, circular plate is shown as flat, rather than dished.
- The drawing suggests a total of 12 individual plates making up the body (not 8 as I had indicated earlier)
- From this drawing, the estimated depth would be 21 cm (not 25 as I estimated)
- The detail shows the construction of the attachment lugs, necked, drawn and folded under (posibly forge welded?)

The main caption reads (best I can manage)

14 side plaler av litt rehslende slorrelse. Tilnarmef sirkelrund funmplate. Plaler ca 1.5 mm bykhe.

(via Google Translate ??)

14 side plates of slightly rehashing slumber (??). Approximate circular funmplate (baseplate?). Plates approximately 1.5 mm thick.

Much later, I had a pair of comments come in from Henrik Olsgaard ( 3) :

the Norwegian ( often similar to Danish in spelling ) word “ slorrelse “ looks a lot like the Danish word “storrelse” which translates as “size” in English.

In the case of “storrelse” , in Danish “stor” means “big” (and to me the suffix ‘relse’ indicates connection), so literally it means “bigness”, which I translate in this context as “size or shape”.

Thinking more about the word  ‘rehashing’ , I suggest it might be an alternate for “replicate” or “equal”, and would give appropriate meaning to – 14 plates of equal size (or shape).

The key data however is the plate count at 14, and the thickness indicated as 1.5 mm. That is very thin plate for wrought iron (I have seen other artifacts measured more into the range of 4 - 6 mm. There is a very good chance that this is actually the 'after conservation' thickness, not necessarily the 'as new' thickness.


1) As mentioned in an earlier post, I did have access to copies of the original report, for a limited time, back in 1994. This thanks to interlibrary loan from the University of Alberta, through the Orangeville Public Library (one of only two sets available in Canada!)
Thanks to Neil Peterson, who has undertaken a massive project of scanning and re-formatting a large collection of Norse related research materials over the last decade (or more at this point - and made these available to members of DARC.

2) With very kind thanks to Marianne Vedeler from the Museum of Cultural History in Oslo. She undertook sending me copies of both some of the related segments, plus translations, despite the fact that at this time the Museum itself has been closed (COVID-19)

3) Henrik Olsgaard commented via the long standing 'Norsefolk' discussion group. This goes way back to the days of e-mail groups (remember those?) and has an on again / off again history. He is another decades long serious re-enactor, and hoby blacksmith, from the San Fransisco USA area.