{"id":6106,"date":"2016-08-14T08:00:37","date_gmt":"2016-08-14T05:00:37","guid":{"rendered":"https:\/\/revistadinlemn.ro\/?p=6106"},"modified":"2023-08-15T18:18:38","modified_gmt":"2023-08-15T15:18:38","slug":"sandblasting-as-art","status":"publish","type":"post","link":"https:\/\/revistadinlemn.ro\/en\/2016\/08\/14\/sablarea-ca-arta\/","title":{"rendered":"Sandblasting as an art"},"content":{"rendered":"

We recently talked about sandblasting as a wood structuring method<\/a>. It was about technology, industry, ways of industrial wood processing. It will be about sandblasting again, but sandblasting as art. I'm going to introduce you to a French artist who uses sandblasting to make marvelous objects out of lace<\/em> wood.<\/p>\n

\"detail\"<\/p>\n

Wooden lace<\/h5>\n

Pascal Oudet<\/a> is a Frenchman who, thanks to his training as an engineer, succeeds in combining technique with art, resulting in objects of particular finesse and delicacy. Oudet began his journey into the art world after completing his engineering studies. Inspired by the effects of nature on the texture of wood and stone, he began to search for solutions to reproduce these effects.<\/p>\n

Oudet starts work on the lathe, where he does all the turning necessary to obtain the desired shape. Then, with the help of sandblasting, he removes the early wood resulting in a transparent material, like a tight lace. The material is like a history of the tree as the annual rings become very visible, like wrinkles on a senior's face.<\/p>\n

The artist uses wood from the Grenoble area, where he lives and works. His works start initially as a clear project after which everything evolves, the object takes over the project, developing according to its own laws. Imagination rules the instruments, resulting in a work of art of remarkable finesse.<\/p>\n

\u00a0Pascal says he found some of his inspiration in forests and rocks. Sun, rain, frost act on the surface of the wood to reveal its internal structure. He works with these characteristics, trying different surface treatments to reveal the character of the wood. He carefully chooses the wood from which he creates very thin pieces which, when sandblasted, become lace.<\/span><\/span><\/p>\n

His training as an engineer allows him to use other technologies to complete his work. He uses the technique of burning wood or bleaching it with oxygen. This gives him special colors and textures. He also colors the wood to obtain works with personality, impressive wooden lace objects.<\/p>\n

\"diabolo\"<\/p>\n

\"oudet41a1\"<\/p>\n

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Pascal Oudet's works have been featured in exhibitions around the world. They are part of numerous private collections as well as the collections of renowned museums such as Museum of Art and Design<\/em> in New York.<\/div>\n
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De cur\u00e2nd am vorbit despre sablare ca metod\u0103 de structurare a lemnului. Era vorba despre tehnologie, industrie, despre modalit\u0103\u021bi de prelucrare industrial\u0103 a lemnului. Tot despre sablare va fi vorba \u0219i acum, dar despre sablarea ca art\u0103. Am s\u0103 v\u0103 prezint un artist francez care folose\u0219te sablarea pentru a face obiecte minunate din dantel\u0103 de […]<\/p>\n","protected":false},"author":5,"featured_media":6126,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"none","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[2172],"tags":[751,608,750],"class_list":["post-6106","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-decodesign-amenajari","tag-arta-sablarii","tag-sablare","tag-sablarea-ca-arta"],"_links":{"self":[{"href":"https:\/\/revistadinlemn.ro\/en\/wp-json\/wp\/v2\/posts\/6106","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistadinlemn.ro\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistadinlemn.ro\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistadinlemn.ro\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/revistadinlemn.ro\/en\/wp-json\/wp\/v2\/comments?post=6106"}],"version-history":[{"count":9,"href":"https:\/\/revistadinlemn.ro\/en\/wp-json\/wp\/v2\/posts\/6106\/revisions"}],"predecessor-version":[{"id":36485,"href":"https:\/\/revistadinlemn.ro\/en\/wp-json\/wp\/v2\/posts\/6106\/revisions\/36485"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistadinlemn.ro\/en\/wp-json\/wp\/v2\/media\/6126"}],"wp:attachment":[{"href":"https:\/\/revistadinlemn.ro\/en\/wp-json\/wp\/v2\/media?parent=6106"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistadinlemn.ro\/en\/wp-json\/wp\/v2\/categories?post=6106"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistadinlemn.ro\/en\/wp-json\/wp\/v2\/tags?post=6106"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}