Side Street Studio Blog | The best art that B.C. can offer
About This Site
Side Street Studio in Oak Bay Village and now Humboldt Street, Victoria, has been selling the work of British Columbia artists for over 25 years. Side Street Studio is family owned and has the support of five highly trained and helpful staff. We are commited to providing a showcase for the best pottery, jewellery, wood, glass art, textiles, cards & books, carvings, West Coast photography & art prints and special Gifts that B.C. can offer. more...
David Parks
Decoy Carving is the self -taught occupation of David Parks that began in the mid 1980′s as a hobby. 
Long Billed Curlews are David’s favourite bird, having grown up with them in his native Ireland. You will find many different Curlew styles in his appropriately named ‘The Curlew Workshop.’ Some are of his own design while others are in the tradition of the early carvers who made Curlew decoys.
In fact, David relies on the styles of the early traditions and much research goes into the making of each of his decoys so that they replicate the originals as closely as possible.
In days gone by, shorebirds migrating up the Atlantic seaboard from Central & South America were hunted for food and feathers. As the demand increased, populations of the birds that were once so bountiful it was said that they “darkened the sky,” decreased alarmingly, and certain species became extinct.
Fortunately the passage of the Migratory Bird Act of 1918 ended commercial hunting of shorebirds. The act also ended decoy production for hunting purposes. Those few remaining decoys are classified as North America Folk Art and are highly prized.
It was shortly before the cessation of the hunting of shorebirds, that the mantel bird came into existence. Hunters would order decoys and include some for their mantelpiece. Thus the two-legged mantel bird was created specifically for this non-hunting purpose and is an integral part of the lore of the shorebird decoy.
Hand carving shorebird decoys gives David great satisfaction as the image emerges form the wood. These decoys are highly imaginative works of art and represent a by-gone era. 
You can find more of David Parks superb carvings at www.sidestreetstudio.com
Gitte Bruun Of Rainbird Arts writes;
WASPS NEST PAPER & PEARL EARRINGS
“It’s all about the natural world for me. Without it, my soul would shrivel up and die, or at best, atrophy.
We need to respect and treat our great and wonderful planet with kindness.
It’s the only one we’ve got. Every little thing, big or small; creature; being; organism; is amazing and breathtaking in it’s design and an integral part of the whole.
CEDAR BARK PAPER & JASPER EARRINGS
I want to share and convey those feelings of excitement and humbleness for the beauty and complexity of the natural world, enlightening and educating if I can.
CEDAR BARK PAPER & COPPER BEAD EARRINGS
I tend to choose subject matter for my pen and inks that are not “popular”, focusing on bats, vultures, snakes, insects etc with the occasional foray into birds of prey and orcas.
WASP NEST PAPER & FLOWER JADE EARRINGS
My jewellery reflects treasures of the natural world and their history, combined with sterling silver and gemstones, or at other times borrows influences from the tribes of Africa and Asia, from people who still live connected to the land and its rhythms.
Art should provoke thought. I hope that my work will inspire some to take another look at aspects of species inhabiting our world, open their mind a little more to the importance of all creatures, not just the handsome ones, thereby, hopefully softening our impact.
I combine sterling silver and semi-precious gemstones with my “beads” made from handmade cedar bark paper or abandoned wasp nest paper”.
CEDAR BARK, TURQUOISE & LICHEN EARRINGS
CEDAR BARK PAPER & PEARL EARRINGS
“For the paper-making process, strips of bark removed from fallen or windblown cedar (Thuja plicata) are torn into narrow lengths and then cut into postage-stamp sized pieces before being soaked in water overnight or longer. It’s then cooked in the water gently (on top of the woodstove) with a small amount of soda ash for half a day to break down the fiber, rinsed thoroughly, and zapped in a blender to become a rich dark brown paper pulp for casting or sheet making.
CEDAR BARK PAPER, SODALITE & LICHEN EARRINGS
Sheets of dried cedar bark paper are cut into strips and rolled into beads, or cut to size to cover cardboard blanks, glued into place and left to dry, and then covered in a protective layer of matte varnish. Or the pulp is pressed into round discs, dried and trimmed, and covered in a light varnish.
Some of the ‘beads’ have pressed lichen, dried hydrangea petals, or parts of maple leaves and ferns decorating them. A sterling silver bail is attached and the ‘bead’ is ready for it’s marriage to stone and silver”.
“Yellow Jacket nests (vespiary) are found abandoned in the winter after the colony has died off and the surviving queen hidden herself away to overwinter underground or somewhere sheltered until spring. The nest is made from wood of various species of shrubs and trees chewed into a pulp by the Yellow Jackets, and then transformed into an elegant brindled paper structure that can take on a typically urn-shaped form as large as a football or bigger.
CEDAR BARK, CARNELIAN & HYDRANGEA PETAL EARRINGS
Some are in shades of grays, ivory, granite, and silvered cedar, or shot through with waves of russet, taupe and tan, a few with softened amber and sepia tones. They are a work of art in themselves. The nest is very brittle and fragile so pieces are cut to size for the cardboard blanks that they cover, wetted carefully with glue and folded over into place and left to dry.
WASP NEST PAPER & TURQUOISE CLIP-ON EARRINGS
A few layers are used to complete the process, drying between each layer otherwise the paper disintegrates with the slightest touch. Once all the layers are on and dried, the wasp paper blank is coated in a protective layer of matte varnish, the sterling Silver bail attached and it’s ready to be combined with silver and stone”.
Gitte Bruun lived for over 22 years on an island with no roads nor electricity (accessible only by boat) off the Sunshine Coast of British Columbia, Canada. Read more about Gitte and her beautiful work at http://www.sidestreetstudio.com/catalog/index.php?manufacturers_id=80452
CEDAR BARK PAPER & HYDRANGEA PETAL EARRINGS
At Side Street Studio we have a long tradition of working with some of B.C’s finest wood-turners & carvers. Over many years we have been advising customers how to make their wooden bowls, platter or any wooden item last for a generation. The following is some of the ‘essentials’ that we recommend you follow to keep you wood in perfect condition…for generations!
Oil your wooden bowl or utensil on a regular basis. We recommend doing it on a monthly basis. 
Ideally we recommend mineral oil. Food grade mineral oil is tasteless and odorless. It does not get sticky and does not become rancid with time. This is available from most local supermarkets & hardware stores. However, many of our artists recommend using Walnut oil or Olive oil as an alternative – both of these are excellent.
Rub on generous amounts of the oil (warmed just to room temperature) and allow to soak in. Repeat the process about 6-8 hours later, and repeatedly if necessary, until the oil is no longer being absorbed. Then wipe off any excess that remains on the surface. 
Wash your wooden utensils without worry after oiling. But…
Do not let wood utensils soak, and never wash them in a dishwasher!
Dry wooden boards and utensils thoroughly after washing. Wood dries faster than plastic, and is less likely to harbor bacteria on its surface.
Bowls that you regularly use for salads can just be wiped clean with a paper towel or J cloth. It will soak up any excess oils and be ready for your next salad.
Cutting boards should never be used interchangeably with meat (including poultry and fish) and other foods (like bread, salads, etc.), to avoid possible cross contamination from bacteria in uncooked meat products.
The USDA recommends that you wash wooden utensils (especially cutting boards and utensils used with uncooked meat products (including fish and poultry) with hot, soapy water, then rinse and dry. If you follow their instructions, first make sure the wood is well oiled before using it, and that the utensils have been at room temperature, not out in the cold. Follow with a generous oiling, since soap will remove much of the surface oil.
You can see many superb wooden bowls, platters & vases – all hand crafted in British Columbia at Side Street Studio’s web site – http://www.sidestreetstudio.com/catalog/index.php?cPath=4
Kees Luch’s writes; I live on the edge of the Lantzville foothills on Vancouver Island, overlooking Georgia Strait.
In my workshop, sheltered in a wooded cedar grove, I pursues my passion of making beautiful, functional items from exotic hardwoods.
I design my pieces with the motto “Art That Works’. A European background and love for elegant simplicity is evident in the clean, flowing, organic lines of this work.
Substantial time is spent locating the appropriate hardwoods, consistently searching through inventory on Vancouver Island and the lower B.C. Mainland for raw materials from suppliers supporting a sustainable forestry concept.
Each piece is handmade. The work is extensively sanded to a fine smooth finish. Then numberous coats of a hand rubbed, varnish type finish is applied, with sanding and buffing between each coat.
My work has been featured on the front cover of Western Living Magazine (August 2007), and is sold in juried shows and galleries in both Canada and the United States. 
You can see more of Kees superb work at www.sidestreetstudio.com
George Yearsley said “that I have been a carver for fifteen years and a full time artist for the last few years. I grew up in Crescent Beach, B.C. but always yearned for a wilder existence.
Eight years ago I moved to Tofino and built my own house amongst the coastal cedars. There I found much more solace and inspiration, eventually meeting master carver Henry Nola. 
Henry’s way of life had a profound affect on my personal direction”.The idea of carved feathers came from my many forays into the wilderness areas of B.C. — especially to the old growth forests. Time and again, while on these trips, feathers would present themselves to me.
The eagle feather became a symbol of wilderness and especially the old growth cedar forests; feeling the need to honor my connection to the feathers and trees I walked amongst, I carved one out of cedar. In so doing, I try to honor and respect the integrity and spirit of the cedar tree.
Eventually I have became known as, “Feather George” for my finely carved eagle feathers I was known for. All my carvings, which include feathers and boxes, are made from reclaimed red and yellow cedar with inlay of abalone, scrimshaw and semi-precious stones. Hand-crafted feather bases are made from soapstone or antler.
You can see more of George’s superb work at www.sidestreetstudio.com
Chance Adrian Gesinghaus Northwest Coast Indian Art.
Chance was born in Alert Bay, BC on September 24, 1980 to Donald Gesinghaus and Janice Bernard. Chance belongs to the Kwaguilth Nation. He has learned wood carving from his father, Don. Chance has been apprenticing with his Aunt, Nancy Dawson since he was sixteen. Chance continues to create his art and is becoming a sought after artist.
Chance’s silverwork is superb. His eagles, dolphins, whales and feathers designs make superb pendants. You can find more of Chance’s superb work at www.sidestreetstudio.com 
Wanda Shum writes “I am a B.C. grown artist who was formally trained in Electronic Communication Design at the Emily Carr College of Art and Design; I’ve been an independent artist for over 16 years with a variety of works to my name. All my work has embodied an attention to detail in form and function. My works are recognized for their bright and whimsical qualities”.
“Currently, I’m working with polymer clays in a technique called ‘millefiori’. ‘Millefiori’ or ‘A Thousand Flowers’ is a traditional Venetian glass art that involve the formation of a cane-like sculpture with fused glass rods that has a pattern throughout. 
The modern version of this is created by laying different coloured polymer clays together. Then the cane is sliced to reveal the design within. To me, millefiori is a combination of painting and sculpting”. 
“This technique has allowed me to create unique limited edition designs of jewellery (I’ve created a few exclusive designs for the Manitoba Museum of Man and Nature). More recently, I have created a line of home decor which features items such as wine stoppers, glassware, and teapots covered with millefiori slices. My latest body of work, especially my teapots have moved beyond the framework of form and function into the distinct realm of collectible art pieces”.
You can see more of Wanda’s magnificent work at Side Street Studio, Victoria, B.C. 
Phil Cottell writes. “In 1997, I retired from my work in forestry research and development, and our family moved from Vancouver to Vancouver Island. There, the notion of woodturning gradually emerged (something I had last done in high school, but remembered enjoying). 
And, combined with carving, colouring and pyrography, this interest developed into a sort of avocation. My objective became to transform mainly found local woods into functional and aesthetically pleasing objects — vessels like bowls and vases, platters, plaques — and to achieve, on occasion, things of some artistic beauty.”
“Over the past 12 years, I’ve attended many seminars and courses, gaining insights from some of the world’s premiere woodturning artists. I have also participated regularly in Community Arts Council events (Studio Tours, Sidney Fine Arts Show) on the Saanich Peninsula, and for five successive years had pieces accepted for the Sooke Fine Arts Show.”
“Most of my raw material is salvaged from locally grown native tree species (e.g., maple, yew, arbutus, Garry Oak, Alder, Red and Yellow cedar, Douglas-fir, hemlock). 
The Wood Recovery Program of the Vancouver Island Woodworkers Guild, of which I’m a member, has been a reliable source. One of my memorable mentors said “Turn what grows in your back yard!” — so that’s what I tend to do. ”
“The Island Woodturners Guild, and smaller local woodturner groups, have been of immeasurable support for materials, tools, techniques –and inspiration. While most of my activity is solitary, I enjoy collaborative projects with Parksville woodcarver Barri Hearn, and with Coast Salish artist Chris Paul of Tsartlip. Barri carves delicate wildlife/nature themes on my turned bowls, platters and wall plaques. Chris draws traditional and contemporary Salish spindle whorl designs on discs that I prepare; we then carve them together.”
“In 2008, our family moved from North Saanich to Brentwood Bay, where I built a dedicated workshop/studio. It’s operational, although not yet fully organized, and is a pleasant, productive space to inhabit.”
“I’ve greatly enjoyed the relationship with Nigel and Sue Hayes at Side Street Studio since the time it opened under their ownership, and look forward to being part of their new venture at their second location in Victoria.”
Ray Franklin was born in Oxfordshire in England. He grew up during the war and enjoyed the woodworking classes at school. He did his National Service in the Coldstream Guards, serving ten months of his term in Egypt.
Ray and his wife, Ann were married in 1956 and emigrated to Canada in June of that year. After working on a farm for 4 years he changed to construction and subsequently became a crane operator. 
He never lost his interest in woodworking and made much of their furniture. After retiring in 1989, he developed his skills in woodturning.
Ray loves unlocking the secrets in a piece of wood and combining different coloured woods to make unusual designs. He has won several awards for his work.
Some of these these vases have 448 pieces of wood in each one. 
They are made up of Black Walnut, Yew and Ebony, and required approximately 350 hours to build them. They are mounted on turntables. Please turn them slowly. You can see more of Ray’s outstanding wood turning at Side Street Studio.
Helgi Eyjolfsson writes. “Like people, no two pieces of wood are exactly alike. I select woods locally and from around the world. My favorites include cocobolo, amboyna, and any type of burl especially those with natural eyes such as bird’s eye maple, yellow cedar burl and buckeye burl. A burl is a growth on the outside of the tree that can be removed without killing the tree”. 
“I first discovered the beauty of wood while completing my first project nearly 50 years ago in high school. Now in retirement, I spend as much time searching for wood as I do transforming it into my finished product. Once the wood arrives in my workshop, I let it dry for up to 5 years to ensure stability and to provide me with ample opportunity to study each piece and visualize the most outstanding finished product possible”. 
“I have discovered that the most important skills in woodworking are the selection of the wood and probably more importantly, the application of the finish. The finish gives each piece the chance to show its natural beauty and to preserve for generations to come the opportunity to admire the piece as it was in its living state. My Viking heritage has given me the desire to learn from the ancient masters and contributed to my striving for the perfect finish that can only be achieved with time, patience and lots and lots of sanding and polishing”.
“Like people, no two pieces of finished product are alike. If asked, I cannot duplicate a finished product. The wood grains, especially those in burls, cannot be duplicated in nature. Like many fortunate people, the wood that I use has lived to a wonderful old age and therefore may come with a blemish or crack. I strive not to hide these distinctive marks of maturity, but rather use them as a point of beauty”.
“Enjoy your unique piece of handcrafted artistry!”, you can find more of Helgi’s fine work at Side Street Studio.