EMERALD-The Fourth Stone

October 22, 2009

EMERALD-The Fourth Stone

Red Emerald-Bixbite

Beryl has been considered a valuable gemstone since prehistoric times. There are many colors of beryl known under many names. Green beryl is called emerald. In the 1800s green beryl was removed from the beryl family and called emerald. Blue beryl is aquamarine, colorless is goshenite, pink is morganite and yellow is heliodor ranging from a bright yellow to a honey-golden yellow.

Red beryl is extremely rare and mimics shades of red from bubble gum to to scarlet, or the color of blood. Mainly found within the Wah Wah Mountains of Utah, only an estimated 60 pounds were ever mined in the history of the world! Some smaller amounts have been found in other countries recently. Oddly enough it seems people are drawn to this stone yet do not understand why. The reason will be revealed later via an exerpt from The Stones Journal.

Blood?

The most common thread between this stone, its rarity, and the similar color of blood is in fact that the bible pounds a message to its readers that we should never forget that Jesus shed his blood for our sins. What better way to elevate the significance of that sacrifice than to mark it with the rarest gemstone in the world? These facts seem confusing but within The Revelation Painting there is a mystery of Revelation which has been overlooked since the bible was written and it will be revealed in The Stones Journal. Once revealed, the mystery is easily seen in the painting. The price for red beryl or Bixbite is astronomical! For one faceted carat, you can expect to pay $20,000.00 or more. Although I have obtained 6 carats of rough stone and the collection required for this section of the painting (an estimated 272 carats) will obviously have to be forfieted in lieu of a replacement stone of similar color or some other meaningful way to express the significance of this most important section.

I once spoke to a man who had worked in the mines in Utah and asked for the owner’s contact information. He was very put off when he found that I needed to crush it for the painting. He went on to say that the stone was highly coveted and that the owner would never sacrifice it for the painting. I will never know if I do not ask, so time will tell if the mine owner will sacrifice a handful of the stone.

(THIS SECTION WILL BE UPDATED as developments occur)

CUSTOM MADE WOODEN CANVASES

In creating The Revelation Painting, it was apparent that the weight of the stones and the need for sturdy canvases to hold the fiber optics were going to require wooden canvases.  In the case of the fiber optics requiring small holes drilled from 1-6MM, a cloth canvas would not suffice.  It was estimated that six canvases would be needed to house the fiber optic cables and four to hold the weight of the stones.

Fiber optic cables are delicate and will not tolerate numerous placement and removal as the painting moves from location to location.  The idea to drill holes and securely fasten the delicate cables is what brought me to the design of custom-made wooden canvases with drilled holes to accommodate various sizes of cables fixed securely into place with clear adhesive.

   

 Various sizes and adapters are available to create the light effects from a light source.  Obvious decreased movements and coiling of the frail cables would increase the life of them before replacement was required.  Designing custom canvases 48” x 48” from wood that fit flush with the cloth canvases was no easy task.  Measurements from the side were calculated at 1 ½” combined.

I consider myself an artist and not a carpenter.  It was very difficult for me to try to measure and calculate the needed design as doors were going to have to be on the backs of six canvases to carry the cables securely during transport.  I sketched a rough design and ran an ad for a carpenter, aka woodworker with tools to build the canvases.

 

I need someone to build 10 canvases, high quality 48″x48″x 1 1/2″, some with doors on the back. These canvases will be painted on; fine art and have to be sanded and smooth. Some will have small holes drilled in them. I do not have tools, so you need your own tools. I will buy the supplies at your direction regarding the type of quality, lightweight, non-warping wood required. I have a cloth example (without doors on the back) to go by for design purposes. I will need a quote from you regarding what you will charge for all 10 canvases. I hope that you can deliver them when done or I will rent a truck to pick them up. You will be required to sign a waiver if injury occurs in the creation or delivery of these canvases that I will not be held responsible.

I was amazed at the response!  After a week or so of careful consideration, I chose a man who may or may not be listed in The Journal of Acknowledgement for his significant contribution toward the creation of the painting based on his decision.  (Please see:  www.therevelationpaintingjournals.wordpress.com regarding this powerful journal.)

The most difficult part of designing the canvases are the side frames which can only be 1 ½ inch combined; the ¼” Birch plywood, the frame, and the width of the latch.  The main problem is finding the correct cut with the application of the latches where the canvas is not forced to sit out from the wall at a wider distance than the cloth canvases.  Solid construction is important here due to weigh.

The remaining four canvases are located at the end of the painting where the twelve foundations of crushed gemstones are found.  It will be interesting to calculate the exact weight of the stones.  (I will deduct the weight of the finished wood canvas, the adhesives and lacquers from the total weight after the stones are applied.)  Just carrying the crushed stones reveals pounds of weight!

 

I considered and am still considering tracks of LED lights to illuminate the crushed stones through small holes.  The stones, their magnificence of sparkle and light-play is best observed through illumination.  Time will tell regarding this decision.  Many other components were required as well for the completion of fully functional canvases to withstand the test of time.

The main component of the canvases is of course the wood it is made from.  Several carpenters recommended Birch.  I did not know much about Birch, only that I needed a wood that would not warp, could handle the weight and liquid applied to its surface.  I researched Birch and found interesting facts.  I felt this would be a good choice of wood from which to build the canvases.

  

Birch is a tight and solid wood species that grows in North America and is from the Betula Family, closely related to Beech and Oak. The two most common types of Birch are Paper and Yellow in North America but there are over 50 species found throughout the world.  Birch trees grow an average height of 70 feet with a diameter of 2”.  The bark rolls and peels spontaneously but gets thicker with age.

Birch lumber is used for many, many products from skateboards, to canoes, artist easels, paper and cabinets.  It is chosen for its fine and uniform texture.  It is nearly odorless and is also chosen for long burning fireplace wood.  Once it is dried it resist decay and fungus.  It is fairly priced and the type of Birch chosen for The Revelation Painting was Birch plywood, quarter inch.  Birch plywood is created from lamination of Birch veneer and is light but strong.  It is fine grained and pale.

 

Other parts associated with the custom wood canvases:

CONTINUOUS HINGE POLISHED BRASS FINISH

 HIGH QUALITY .04  GAUGE STEEL, 36″  BY  1.5”

SLOTTED ADJUSTMENT HOLES EVERY 9TH HOLE

1-1/2″ Metal Re-enforcing Corner Angle Plate
1-1/2 x 3/8 inch 4 hole zinc plated plates.
 

 

Brass Plate Flat Strap Hanger
Total length 1-7/8 inch Width by 1/2 inch
 
Nickel Flush Drawbolts  –   Approx. 1-1/2″ x 3″

Oddly enough, I consider this painting bringing Revelation to life and I found this interesting fact regarding Birch (from Wikipedia):

Birch trees are associated with the Tír na nÓg, the land of the dead and the Sidhe, in Gaelic folklore, and as such frequently appear in Scottish, Irish, and English folksongs and ballads in association with death, or fairies, or returning from the grave.