Pry into the secrets of creation!

I create trees by a unique technique that has been developed during the past 13 years. All these items are created from one single copper wire. This means that I never cut the wire: when I reach the end of a branch, I bend the wire back and work on. Depending on the size of the tree, I use about 1000 metres (1100 yards) of wire.

The method of creation itself is top secret. I have never disclosed the secret of wiry3 in any of the TV-shows or reports.

However, I can tell you about some interesting details.

Before starting, I carefully design all trees on paper. I have to calculate which type of wire and about how long piece I will need. When twining the wire, it is very important that the wire is tense, otherwise the pattern will be uneven. These twisted segments form the branches of the tree. Where the branches meet, I have to use complex plait work as it is crucial that the wire does not loosen – one should not forget that these trees are eternal. I have to know all the physical characteristics of the material to know the limits of twisting. After twining, the soft copper wire becomes stiff so the resulting tension holds the tree together.

For the twining works, I use special pliers I have modified for this purpose. Since these tools are made of steel that is much harder than copper, I cannot touch the wire directly. However, sometimes this cannot be avoided. In this case, I have to be very careful because the pliers cut through the copper like a knife through butter. Should that happen, I have to start the whole work again. When I have to heavily press the material, I use pieces of safety belt from an old car to protect the copper wire from the pliers (for example when I finish the ends of branches or create the trunk).

If you want to learn more about wiry3, the idea and the story behind these trees, click to the What is Wiry3 menu.

Why is it good to create the whole tree from one single wire? Would not be much easier to use several pieces?

Well, I think about that quite often during the creative work. Not infrequently, I have to twist around the wire for weeks, paying much attention not to break it (if I break the wire, the whole work of art goes to the trash). Meanwhile, results develop very slowly. But, when a tree is ready, it is a great delight to see the new work of art, made from a 1000 thousand metres long piece of wire. Since I do not cut the wire, the tips of the branches are rounded – no danger for the eye or for dresses. To tell the truth, it would be much easier to use a bunch of wires: I should only twist the trunk, then adjust and cut the branches ... and that is all, within tenth of the time.

The following example makes much clearer why I hold to this difficult method.

I love intarsia. I can watch a demanding piece for hours, paying attention to the slightest details, the nice jointing and the quality of materials. The creation of a major inlay work takes weeks even for the most experienced artist. The artist has to accurately consider each and every step. When cutting, he or she must pay attention to the exactness of lines so that the end product will be natural and living. After putting all the tiny pieces to their place, the artist has to nicely finish the surfaces. A painter may paint a picture with the same subject within a couple of hours. Similarly, when we take a picture about an intarsia, we can print a copy in any size within seconds. In my opinion, the quantity of time and work devoted is the essence of creation. From a distance, an intarsia could look the same as a painting or a print. But, as we proceed to the picture, new and new details emerge and we can see and admire the meticulous and elaborate artizanship, making the work of art unrepeatable.

Well, the situation is similar with my works. Since the initial condition of the material is completely different from that of the end product, this unrepeatedness is increasedly true. Difference between the individual trees is not a matter of millimetres: these works of art are unique in terms of the number of branches, the shape and the structure of the top.

There are several thousands of tree species in the world. Up to this moment, I have created about 15-20 types. Based on the feedback of my clients, I stick to the 4-6 most popular versions (see references). I create these types in smaller or bigger size, with one or more trunks, with high or low top. People like the cedar tree – every second customer chooses a tree like that. I saw this species in Botswana, Zambia and Egypt, in desert landscapes, standing among the dunes. The leaves of the cedar are tiny. This tree is often bald. The branches are usually horizontal. Therefore, I suggest to put these works of art at eye level.

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