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Daily Mini Interview: Characters in Miniature by Colvin Dolls

October 17, 2015October 17, 2015 admin

Characters in Miniature by Colvin Dolls

What’s your earliest memory with miniatures and dolls?

My earliest memories of dolls was the Ideal Toys Crissy doll whose hair grew when you gave it a tug and retracted when you pushed a button in the back. She was all dressed in orange! And Mattel‘s Dancerina Ballerina all dressed in pink with a plastic crown that you pushed to make her spin! Not miniatures of course.

My earliest memories of miniatures were dollhouses from that same era and the occasional clothespin dolls we made in Girl Scouts.

When I was studying figurative sculpture, I was always drawn to maquettes, (small scale studies for larger works). I believe that is where my interest in smaller scale representation may have been peaked. They seemed magical to me. In my late twenties, I saw some of Bernini’s and Camille Claudel’s maquettes on a trip to Europe and they made a lasting impression on me.

How did you first get started making lifelike dolls?

I needed occupants for a dollhouse I was making for my nieces. In 2005, my sister-in-law asked me to make a dollhouse for my two young nieces. I have a background in architecture so that intrigued me. I custom designed it, made the cabinetry and even custom crafted Georgian fireplaces with over mantles. The house became very elaborate, in fact too elaborate for the girls who were then 2 and 5. I built it in my father’s workshop frequented by his retired friends. They were actually very interested in the construction the dollhouse. One day, one of them asked, “where are the people?” That was when I started making 1:12 scale figures for the house.

What was the first doll you created?

The first miniature doll I created was a papier-mâché 18th century lady with a Marie Antoinette-style wig totally from my imagination… face, costume, and all. I still have her in my workroom staring down at me from the doll case.

How has your work evolved over the years?

The first doll I made is nothing like the dolls I make now. Today, I work in polymer clays and artist’s resins and almost never make a face or costume without some sort of real life reference.

What keeps you creating?

The desire to improve keeps me creating. I am motivated more by the process than the end product but the two are intricately linked. I am always looking for ways to better my technique and I experiment a lot.

Do you have a favorite character that you create?

I suppose I am partial to sleuths like Miss Marple and Sherlock Holmes but I don’t have a favorite character that I create. I often do re-make doll characters. Sometimes because customers ask me to and sometimes because I want to see how my eye has developed over time and I will compare them to the previous ones that I’ve made.

Any favorite characters that you have yet to make but are on your t0-make list?

I want to make Queen Elizabeth I and her court. Then Henry the VIII, all those great Tudors. My dream would be to collaborate with someone to make the environments! And to have the leisure of taking all the time I need to get to every last detail.

How did you first become involved with IGMA and the annual Guild Show?

I was asked to be in the show by one of their members from my home state who I knew from other miniature events. I knew of IGMA‘s excellent reputation early on from forums online and then when I started selling dolls at shows from talking to other doll makers and miniaturists.

Advice for beginner dollmakers and artists?

My studio professors taught me valuable lessons about hard work and persistence. I used to believe artists were somehow divinely gifted and great work was magically produced by their hand any time they picked up the tools. I had no idea the amount of hard work and study that went into art to make magic happen.

Work at it often. The more you do it the better trained your eye becomes. Creating art is no different from any other task, you need to do it on a regular basis in order to improve. Great work comes from hard work.

What is the most memorable doll or miniature you have ever seen by another artist?

A maquette by Bernini in the Vatican. It was in a glass case in a hallway, so not a prominently displayed piece of art, more artifact from the work room of the sculptor. I can remember seeing the straw like fibers mixed in the red clay to create an armature or perhaps to strengthen the figure. It was extraordinary how a small study for a larger work could have so much intensity and power of expression.

What do you want doll and miniature fans to know about you?

I love running, kayaking, and boating. I would love to learn how to sail.

Colvin Dolls is based in Wilmington, NC and headed up by Sherri Colvin. To shop the collection or view more dolls, visit the Colvin Dolls website or follow along on Facebook.

Daily Mini Interview: Photographer Chris Buck’s Likeness Series

September 18, 2015September 18, 2015 admin

Miniature Figurines in the Photography of Chris Buck

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Where did the idea for the Likeness series stem from? Tell us a bit about your 3D-printed self.

A friend in mine had mentioned a pop-up shop in Chelsea Market offered 3D-printed figures. I went by the DOOB™ booth to check it out and was very impressed with the 3D-printed work on display. The examples had great detail and were solid replicas of the team working that day. I returned to the neighborhood and pursued my own 3D-printed self.

Originally, I had no plans to show the work, I just found the miniature me to be both weird and cool.

What did you learn through your work with the Likeness project?

Well, what’s interesting is that in looking at my photography in general, I always approach my portrait work by molding people into doing what I do, or what I would do. In that sense, my subjects conform to Chris Buck. So if you see awkwardness or frustration in the picture, that’s more me than the subject.

The Likeness series allowed me to show things from my life in a way that my other work doesn’t. The work was in a playful context, overtly imaginary. Take, for instance, the shot in a crappy hotel room with the figurine drunk on a bottle of bourbon. I was able to do that effectively because it was playful and silly, both odd and funny.

What I enjoyed most about the project was that I was creating natural self portraits, separated from me. I was both the photographer and the subject all at once. It was the ultimate dream of a portrait photographer realized.

What has been your favorite Likeness photo thus far?

I would break this series into two groups: photos driven by content vs. photos driven by visual. I think some of the best #bucklikeness photos, and the most successful ones, have been driven by both content and visual. Two that stand out in my mind as having interesting content that’s also complex and visual would be: the frustrated Likeness in front of the urinal and the one where he’s buried in sand.

Tell us a bit about the figurine’s demise which resulted in the end of the Likeness series.

After I first had the replica made, I was in Los Angeles for 2 weeks and shot with him a lot out there. When I was in San Francisco for a short while, he ended up falling off a shelf. I glued him back together and kept taking photos. So it’s a bit misleading, you see, that the last image in the series was actually taken towards the beginning. I put him back together with rubber glue, but one foot kept breaking off.

The Likeness series is done now. Anytime I went anywhere, I had to take the replica along. I took #bucklikeness on vacation, to the beach – anywhere I went, he came. It was very distracting and an enjoyable series, but I never wanted it to become my whole creative identity.

You’ve previously incorporated miniature figures into your photography (Miniature Grooming (Harold Ramis); Hydrophobia; Tickphobia; Vignette (Rob Corddry)). Have you always had an interest in miniatures?

David Levinthal’s work inspired the Phobia series, which was featured in Outside magazine. The Likeness series took things a bit further and made the work more personal.

There’s something appealing about miniatures. They look like our world, but they’re not our world. I remember loving the other worldly quality of works by Ray Harryhausen. When his skeletons moved in Jason and the Argonauts, there was a sense of realism, but something was also off.

When it comes to miniatures, even when they are well done and really alluring, something is still a little bit off. And that captivates viewers even more.

Do you have any favorite artists or designers working in miniature?

I enjoy the work of David Levinthal and very much liked Corinne May Botz’s book The Nutshell Studies of Unexplained Death.

I don’t consider myself a miniature expert by any extent. A lot of people are working in miniatures, and there’s a range of hobbyists and serious artists, but all of it is interesting. The people working in this are so strong and dedicated to their craft. What worked well with the Likeness series was dabbling with contemporary technology. It provided me license on to put on my own creative spin on the work.

What inspires you?

Some people are compelled to be creative. If I didn’t have to make art to support myself, I would still make it. It’s irresistible. There is something in me that drives me to create. I have to do this, whether “this” is putting together a family photo album, researching my family history, or working on professional photo projects. I have to do this stuff because it’s in my DNA. So, even if my schedule was completely cleared, I would still take the time to work on creative projects.

I’m also interested in the conflicts within us as human beings: who we are and what we want to be. I am inspired by concepts of morality and goodness and questions surrounding these aspects of humanity. And, I am also drawn to the dark side as well. That mix shows up in my work a lot.

Advice for beginner artists?

One of the dangers I see with young people is that they become too inspired by what moves them. I would love to see more young artists reactive against things rather than inspired by things. For instance, with miniatures, if someone were to look around and say, “the way people are making miniatures today isn’t right at all. I want to make miniatures the way they should be done,” then they would create more interesting work as a result. When you deem a field to be exciting and want to become a part of it, you unintentionally might be creating more of the same work, yielding less growth or movement than if you rebelled against the norm or standards of that particular industry.

I hope that young or new artists can share another way of doing things. If this up-and-coming generation shared a truer vision of what should be happening in the field, then they’re ultimately rejecting the current wave to create a new wave. So, even if it’s rejecting what I do – if I’m the old guard and I’m wrong – then that’s awesome. And you should do that. Put me in the past, I’d love to see what you come up with.

Is there anything else you’d like to add about the Likeness series?

When I first saw and held my 3D-printed replica, it was crisp, clean, and the suit was dark. It didn’t take too long for it to fade. Eventually it became shabby and broke. It’s interesting that it had its own life. And in a way, it echoes what will be my life. The Likeness project had a biographical arc: youth, middle age, old age, deterioration, and death. And so, I felt comfortable letting it end because all things end. I wanted to acknowledge that [death]. It’s a fitting way to end it. The replica aged and demised; he eventually slowed down and died.

Closing thoughts on miniatures or replicas?

The field of 3D photographic technology could open up new doors in the field of miniatures. I think it’s exceptionally interesting and I also wonder how miniaturists will react against it, as it removes some of the craft of creating miniatures by hand. To me, 3D printing is the equivalent of representational painting, where all of a sudden photography comes along and ultimately represents life better than paintings do.

Chris Buck is a photographer based in NY and LA. His clients include Google, Xerox, Old Spice, Dodge, GQ, The New Yorker and The Guardian Weekend. He was the first recipient of the Arnold Newman Portrait Prize in 2007. His first book, Presence, was published in 2012. Follow Chris Buck on Instagram, Tumblr, or visit chrisbuck.com to enjoy more of his photography work.

A photo posted by The Daily Miniature (@dailymini) on Sep 22, 2015 at 1:24pm PDT

Daily Mini Interview: Miniatures by Drew Leshko

June 2, 2015June 2, 2015 admin

Miniatures by Paper Sculptor Drew Leshko

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What’s your very first memory with miniatures?

My first memory of miniatures would have to be from attending an annual church auction. There was this woodworker who built the most amazing custom dollhouses. They were unfinished, but the detailing and precision was on point.

How did you first start working in miniatures?

I always think back to building dioramas for middle school English class as a component to a book report… but I think the first real experience working this way was in 10th grade. I had a serious surgery to correct pectus excavatum, a chest deformity. After having my ribs spread apart, xyphoid process shifted, and sternum moved around, I was stuck in a bed for a while. My father had purchased a kit for me to build a miniature half pipe. The half pipe was for fingerboards, those mini skateboards that were popular for a minute. I never found any interest in fingerboarding, but have really vivid memories of building ramps, then covering them with pencil drawings of skate brands and punk music imagery. A technique not too far off from the way I’m working now when applying street marketing and graffiti to my miniature dumpsters.

Were you formally trained in the arts?

I studied fine art in college and feel that I developed some strong composition and design skills, but honestly the way I work isn’t taught in schools. My 3-D design class really opened my eyes and focused my attention on making dimensional objects. However, now I make my sculptures mainly out of archival papers and paper sculpture, which just doesn’t fall into any of the class programs.

How long have you been creating minis?

I’ve been creating small sculptures for the past 10 years, but I feel like I’ve really focused my work and found a strong rhythm in the past 5 years. Now, I predominantly work at 1:12 scale with a variety of acid-free materials.

What types of miniatures do you make? How has your work evolved?

I started making architecturally based miniatures to be displayed on a tabletop or pedestal. I realized that I was running out of storage space in my studio and that any potential collector would need to devote so much space to show the works in a domestic setting, so I needed to make a revision. Eventually I came up with the idea of creating the works as only facades so that they could be wall mounted. My thought was that people are able to clear wall space much easier than floor space. At this point, it’s not much different from the way a painting or photograph is hung.

The buildings are huge undertakings and take a lot of time and patience. Additionally, they can be brutal to ship around the country. So I began to think about some smaller sculptures I could make, but most importantly, what type of objects can be constructed of paper? Thinking about some of the detailing on the buildings, I realized that recreating sheet metal with paper is great. I started to think about tractor-trailers, vans, food trucks, and similar vehicles when I landed on camper trailers. My work has always included commentary on the temporal nature of things, so the transient nature of “RV culture” fits right in to that idea.

You’ve created a number of documentary studies of architecture from your Philadelphia neighborhood. Do you foresee creating building replicas of other cities?

It’s hard to say. Right now, I’m very happy to be done with the buildings and to be working on a new series. I spent a portion of my life designing and creating the 17 buildings and I’m a bit burned out on them.

What materials do you use to make miniatures?

I love using paper. It’s extremely versatile. It can be easily manipulated, folded, cut, sanded. Illustration board, mixed archival paper, wire, plaster, varieties of wood, and inkjet prints are the main materials for most of my projects. I then finish them with enamels, acrylics, airbrush, oil pigments, and charcoal.

Tool you can’t live without?

X-ACTO knife, without a doubt.

Unexpected material you’ve used in your work?

I learned of a rusting technique from an amazing artist, Alex Lukas. Mixing hydrogen peroxide, iodized salt, and white vinegar results in a solution that will rapidly rust steel. It can be sprayed on surfaces, or applied with a paintbrush. Sometimes I’ll add pieces of metal to the works. This is a great solution for weathering.

If you could only describe your work in one of these words, which would it be? Art. Miniature. Design. Architecture.

Art. This isn’t a hobby, this is my job and I am a sculptor. They aren’t models for something to be designed or constructed either. Actually they are the opposite. A recreation of what was. With that mindset, they are documentary studies similar to a painter rendering a scene or a photographer capturing an image.

What’s a day in the studio look like?

[vimeo]http://vimeo.com/116927819[/vimeo]

A day in my studio is an exercise in patience! Everything is a slow process, so patience is a virtue. Typically it’s me cutting, gluing, and folding paper to create individual components that become integral parts of the overall sculpture. I try to break down the objects into manageable pieces and then apply them like a collage to the panel I’m working on. All of this typically happens to a soundtrack of hip-hop and punk rock, though I listen to a wide variety of music.

Favorite miniature or work of art you own?

Oddly enough, I don’t collect miniatures, but I have a pretty nice art collection. I own two hand-woven tapestries from one of my favorite young artists, Erin M. Riley. If you don’t know her work, you need to.

Most treasured miniature you’ve made?

I think Ampere Electric is my most treasured artwork, though I didn’t treasure it enough to keep it, haha! This piece was collected by Kasseem Dean (Swizz Beatz), and is now installed in his home; part of an amazing contemporary art collection, The Dean Collection. I love the balance of beauty and decay in the piece.

Non-miniature artists, designers, books you look to for inspiration?

Thomas Demand, Bernd and Hilla Becher, Walker Evans, Roxy Paine, Alex Lukas, and William Christenberry.

Miniaturists or mini makers that inspire you?

EVOL, Tracey Snelling, Lori Nix, Lois Renner, Kim Keever, Thomas Doyle, and Patrick Jacobs.

Most memorable moment in your miniature making career thus far?

Last December in Miami was amazing. Art Basel, Miami, is always a great time but last year was wild. Philadelphia’s Paradigm Gallery + Studio sold Ampere Electric to the Dean Collection and I was able to meet the legend, Swizz Beatz. He was the most genuine, nicest, collector ever. At a party Swizz was DJ’ing, I then got to hang out with 2 Chainz. 2 Chainz and I had a nice conversation about one of my sculptures Caring Pharmacy and the impact of pharmaceutical dependency and addiction in urban areas. I think that trip will stick with me for a long, long time.

Advice for beginner artists?

You only get out of it what you put into it. Making a go at an art career is difficult at best. If you’re not willing to 100% of your focus into the work, then you should find something else to do with your time. Don’t get frustrated, it took me years before I was starting to get included and invited into good exhibitions.

What is the most memorable miniature you’ve ever seen?

Lee Stoetzel created miniature McMansions entirely from McDonald’s food products. The finished work is a photograph, but definitely a weird one.

Why miniature studies of your neighborhood? Why miniatures?

I’ve always been interested in documentary studies in art, capturing moments in time regardless of media. My project with the buildings in my neighborhood is just that, a documentary project or archiving project.

“Why miniatures?” is a great question, one that I really can’t answer. It just feels right. There is something inside of me that pushes me to take on these works, but I can’t identify what that is.

News about upcoming exhibitions and shows?

Yes! I have a solo exhibition, Relics, with 11 building sculptures at the Delaware Center for Contemporary Art, Wilmington, that will be up through mid-August. Thinkspace Gallery, Los Angeles has curated my work into upcoming exhibitions in Detroit, Fort Wayne, Indiana, London, Miami, Honolulu, and Los Angeles. In June, I have a summer group show at Hashimoto Contemporary, San Francisco. Paradigm Gallery + Studio will be taking my work to Art Basel, Miami, in December and also hosting a solo show in Philadelphia in March of 2016. Beyond that, I will have a small solo show in Portland, Oregon at Antler Gallery in the fall of 2016.

What’s the best way to purchase your work?

My work can be purchased online through Paradigm Gallery + Studio. Additional works are currently available through Thinkspace Gallery, Los Angeles and Hashimoto Contemporary, San Francisco and the Delaware Center for Contemporary Art, Wilmington. For works at these galleries, inquire for a price-list as they’re not listed on their web shops.

Other activities you enjoy?

When I’m not in the studio, I like to enjoy family time with my wife, dogs, and cats. Cycling, camping, and fishing are some of my hobbies.

Motto that keeps you creating?

“They don’t finish themselves.”

Want to dive into more of Philadelphia-based Drew Leshko’s miniature worlds? Check out his website, latest blog posts, and follow along on Instagram, which Drew uses to show daily process images as well as a vehicle to promote work to a new audience.

A photo posted by The Daily Miniature (@dailymini) on Jun 3, 2015 at 1:29pm PDT

Daily Mini Interview: Salavat Fidai Art

May 25, 2015May 25, 2015 admin

Miniatures by Salavat Fidai Art

Six months ago, I began to carve pencils after I was inspired by the work of Dalton Ghetti from the States. I had no experience before early 2015. Now, I really enjoy creating tiny sculptures on pencils. Mostly I’ve been sculpting heroes and cartoon characters.

Describe your process and inspiration.

The concept for my paintings or sculptures starts to take form while I’m asleep. The next day, I look for photos and video material, and then I make sketches or layouts. When I work with oil on canvas, it’s more emotional and expressive. If I paint acrylic on seeds, it’s hard work and more detail oriented. When I carve sculptures from pencils, it’s much more meditative.

I do a lot of reading, and go to other artists’ exhibitions. Sometimes it’s my dreams, sometimes it is the artwork of other artists, such as Vincent Van Gogh. I am inspired by music. I get most of my paintings done late at night when my family is asleep. I’m a total night owl. I find myself more productive and it’s much easier to focus at night.

Did you ever make miniatures in another medium?

Previously, I made sculptures out of wood and stone, but these were of normal size. I also create miniatures on seeds and matchbooks.

What has been the most difficult miniature sculpture to carve?

I tried Darth Vader seven times. Some Vader heads broke during the carving. It took so many tries to achieve a final product I liked, and now I love it!

Favorite artists?

Vincent Van Gogh and Claude Monet.

What inspires you?

Good movies, books by contemporary authors, Marvel and DC comics, Pixar Animation Studios, and more great artwork.

Most treasured pencil tip sculpture you’ve created?

WALL-E and the PPSH-41 gun.

What tools do you use to make your sculptures?

Small, sharp craft knifes and a magnifying glass.

Tool you can’t live without?

Maybe my craft knife or my favorite brush, Kolinsky Sable number 0. I experiment with different tools, but I think I would be happy creating art out of anything.

Upcoming exhibitions planned?

Yes, of course. Big exhibitions in China and Italy.

New sculptures you’d like to mention?

It’s a secret. All I will say is “large sculptures and installations.”

What other activities do you enjoy?

Spending time with my family: going to the cinema, walking, and hiking.

Advice for beginner artists?

Do not be afraid to experiment with new materials. View more work by other artists and learn from them.

Salavat hails from Ufa in Russia. For more of his incredible micro-mini sculptures, visit his website, shop on Etsy, check out Instagram, Facebook or Behance.

Daily Mini Interview: Miniature Woodcarving by Steve Tomashek

May 15, 2015May 15, 2015 admin

Miniatures by Steve Tomashek

How did you first get started in woodcarving?

My family always had an affinity towards the arts. As the youngest of seven, I was exposed to a lot of different art forms as a child. Carving was one of them. My father used to carve duck decoys, and I would recreate these in miniature form. As a young boy, I had an interest in war figurines, so I used to carve miniature tanks and airplanes out of wood. Later, I’d make carvings for my Grandma.

With a burgeoning interest in sculpture and painting, I attended Indiana University where I further developed my woodcarving craft. My passion grew and has remained throughout my life. I was a sculptor and a painter, and I was able to unite my passions with a focus in miniature. At that particular time, I worked in miniature because the materials were more affordable in a smaller size. When your art is small-scale, you don’t need a lot of space and you don’t need as many tools or materials. I used a Swiss Army Knife at that time.

I majored in History, which opened me up to the extensive world of carving and the history of woodcarving across cultures. Many cultures are inspired by the animal form in art and nearly every major artist has also studied animal forms – Franz Marc, for one.

What materials did you use for your first carvings?

As a child, my father and I mostly carved out of basswood. We had two basswood trees in our front yard, but would pick up carving-ready wood (cut and dried) from local lumberyards.

Describe your creative process.

I always sketch out my work before I begin to carve a piece of wood. I’m constantly sketching in a drawing book which helps with my creative vision for a piece. Even if I’m designing something from scratch, I also draw up a sketch first.

I frequently receive international orders from different kinds of collectors who still provide me with the artist freedom to put my own spin on a commission. One collector in particular has amassed nearly 100 of my works over 15 years or so, and she may advise a preferred size of a carving, but allows me to determine the color palette or style. I’m working on a set of chicks at the moment to complement a collector’s recently purchased chicken miniature; for this piece, I’ll be able to run with the color and style.

How has your work evolved?

I’ve become more deft at executing miniatures, so the amount of time it takes has been greatly reduced. Whenever I used to miscarve work in my earlier years, I would seamlessly turn the wood into something else. I miss that. Nowadays, I don’t make errors anymore.

For the past 20 years, I’ve been carving wood. Just recently, I have finally begun work on larger-scale sculptures and miniature scenes in boxes. One of my favorites is of a coral reef with fish swimming. My plan is to continue these into the future.

Tool or technique you can’t live without?

These days, I work with the best knives for wood. When at school in Indianapolis, I attended a woodcarving show and there met a Lyons knife maker there who I still continue to use today.

Carving is relatively easy. There are three different types of woodcarving cuts: pull cut, push cut, and a stop cut. I’d highly recommend reading The Big Book of Whittling and Woodcarving Paperback by E. J. Tangerman. Chances are, you can check out this book at your local library. And, it’s likely the book hasn’t been taken out in the past year!

Non-mini artists, designers, books you look to for inspiration?

Two traditions close to my heart are Zuni fetishes and Oaxacan wood carvings. The Zuni animal fetishes are roughly the same size as my works (ranging in approximately 1-2 inches) and these are made out of semi-precious stones. Some Zuni works are abstracted forms. As for the Oaxacan wood carvings, these are a tabletop size and characterized by a free palette. These artists’ creations range from the more crude to the truly magnificent. I’ve sort of married these two traditions, Zuni and Oaxacan, to create my own style. I’ve allowed myself to use a free palette and range of colors when painting.

Miniaturists that inspire you?

Netsuke, 17th century Japanese miniature sculptures. They took the carving craft to a new, polished level and truly perfected that form.

Are you a collector of miniatures yourself?

Artists are the biggest collectors of their own work. I learned this at an early age, when my room was filled with paintings by my brother and father. It’s convenient to collect and keep my own carvings since they do not take up much space at all! Occasionally I will share miniatures with friends as a gift, or will trade with other artisans.

Why woodcarving? What appeals to you most about what you do?

I am a sculptor and painter because there are things I want to say that there aren’t words for. The very act of carving wood is now something that I need. When I don’t carve, I feel that something is lacking from my day to day. Woodcarving is both my meditation and my medication. My mind enters a different zone and I can tune out the rest of the world when I’m working on a piece. I use magnification on my pieces, so the act of carving truly blocks out everything else but the microcosm I’m working on.

1427481440 Carving every day provides a rhythm to my life. Previously, I would carve for 12-16 hours at a time and then crash. I have found a better balance today where I can divide my time between other projects. I enjoy writing, working on projects in the garden, and spending time with my wife and animals. I work on blog posts quite often, and have been steadily making progress on a second book. This book will speak to the intersection of art and craft.

Most beloved miniature you’ve created?

I still have a chess set I carved for myself in college. And I particularly love the Peanut Gallery carving I made a few years ago—I keep it here in my studio.

What’s to come from Steve Tomashek?

I’m excited to move into my new woodcarving and art studio! There I’ll begin work on more large- and medium-scale pieces. I’ve worked in so many small studio spaces over the years, that it will be nice to have more room for my craft. Stay tuned for more on chainsaw carving!

Steve Tomashek lives in Germany, but is coming to the U.S. this summer to exhibit his miniature woodcarvings. For more on Steve’s colorful and whimsical menagerie, visit his website, shop the store, check out his blog, enjoy woodcarving videos on YouTube, or follow along on Twitter.

Photos taken in collaboration with Glenn Gordon.

A photo posted by The Daily Miniature (@dailymini) on May 15, 2015 at 2:13pm PDT