Last week we installed this memorial stone bench at a woodland site in Arden, North Carolina. An engraved boulder is planned for the site as well, to celebrate the life of Kim Carter, who lived in this area and helped to protect these woods from development.
Top Ten Stonework Photos
Photographs are an important part of my stonework. They are essential tools in sharing my work with others. A strong portfolio drives business.
Photographs are part of my process as well. I take pictures throughout a project. Studying them later- that same day, or months on- helps me troubleshoot problems and see where potential lies. They show flaws and places to grow as well as the tiny little details that make all the difference.
Photographs act as my memory. I don’t have any stonework of my own. Much of my work is hidden in backyards and hard to get to. My archives- a disorganized mess of over 20,000 images- help me see what I’ve done. This helps me keep things in perspective; in the depths of winter it’s a nice reminder that the weather will someday break and we can get back to making things.
What follows are my favorite ten images from the first ten years of Hammerhead Stoneworks. These are not the best pictures or the ones that make up the strongest portfolio. These are the photographs that speak to me of the process and the materials and why I love what I do. Click on the titles to read the story behind each of the top ten stonework photos.
This might be my favorite image of the last ten years. It’s a memorial mosaic I made, resting in the back of my truck ready to be brought to Riverside Cemetery for installation. There’s something about the exploded, expanded view that I really enjoy. It doesn’t hurt that it’s in the back of my favorite old truck, which now rests dead in the driveway. Residual bright blue spray paint pokes through seams. The name plate at the bottom was carved by me. It’s not at all expertly done done but I was proud of the accomplishment. The family decided to add the dates of John’s birth and death, which wouldn’t fit on this piece. I cut a new stone and had it engraved. I may still have that nameplate somewhere at the shop.
Twenty years ago Kristin I took an off-season trip to Italy. I had just started stone work and was mesmerized by the craft on display throughout the country. The floors in Venice, especially at Basilica San Marco, were breathtaking and completely changed the way I thought about stone. Their color palettes were bold and clashing, their patterns chaotic and busy, and yet the end result was endlessly fascinating and beautiful. My pursuit of mosaic goes back to the moment I first saw those floors. This small section of the Phoenix Rising mosaic reminds me of those floors. It is a thread- however modest it might be–that connects my humble pursuits to the master craftsman of that bygone age.
When I take pictures of my work for my portfolio, I always have to be reminded to show the contacts surrounding the finished piece. Future customers want to see how the wall interacts with the landscape. They want to see how the patio looks with tables and chairs. But I am always drawn to the close-ups, to the images that explore the stone and the stone alone.
This particular image is from my first public art commission”The Blue Spiral” in Gainesville Florida. This shot was taken in the shop during the fabrication process. I love the textures in the tight lines. In this image I saw the potential of the idea being realized.
I made a mosaic for the North Carolina Arboretum. It lines the floor of a water feature and includes native species like this bullfrog. As is often the case, my favorite photograph is early in the process, when I recognize that the idea will work. I love the colors here. Most of the stone is regional and in its natural state. The tympanic membrane is a highly polished scrap of marble salvaged from a company that makes countertops.
There are so many better pictures of the GreenMan mosaic, Hammerhead’s first large scale wall piece, but this is a favorite. I took this picture at the shop, while we were fabricating. The whole face is there except the eyes, which went through several iterations before I got them right. Even without the eyes, I could tell that this was going to work. This was a crazy time for Hammerhead; GreenMan was built on top of the labyrinth at our shop.
This is a sentimental choice. I don’t love this wall- one of my first- but I do love those little dudes, who are not so little anymore.
Another shop shot, another moment when a weird idea came together. I had tried prototypes of this idea before, with limited success. Prototypes aren’t supposed to work, I guess. They’re give you the info you need for when you convince a customer to let you build something crazy, like a bench that’s supposed to look like it’s balanced on a bed of marbles.
Alien Landing Pad
There’s not even any stone in this picture, but I still love it and wanted to include it in the top ten stonework photos. It’s the layout of a hexagonal folly that we built for clients in Biltmore Forest. When we were done, they were married there. I like the vivid colors. I discovered the secret to laying out a hexagon on Wikipedia. It involved aligning the centers of three circles with identical radii. The points where the circles kiss each other become the corners of the hexagon- whose sides will be the same as the radius used. This very simple and practical approach to geometry spurred an ongoing fascination with old school Islamic tile mosaics which are incredibly complex and are designed with only a compass and a straight line.
This one soothes me. It’s really the only portfolio-ish shot amongst the top ten stonework photos. It’s been my desktop wallpaper for months now.
Order is fleeting; chaos always wins. This was taken the day we hung pegboard in the shop. It’s been a mess ever since.
Jonathan Frederick took this shot of me as we were installing 3000 pound chunks of granite at the entrance to the labyrinth. Bodie is running the crane as I escort the big guy to its new home.
The Labyrinth: 3 Years Later
Hammerhead completed a labyrinth, a number of mosaics, and several stone benches in 2015 for First Baptist Church – Asheville. I recently visited and took a few photos with the fall color.
Hammerhead completed the Sacred Circle Fire Pit in January of 2014 for clients hoping to use the space for ceremonial gatherings. The photo below is of the fire pit after completion from down here on solid ground.
And here is a photo of the completed fire pit from Google Maps from up above.
These spheres are made of banded onyx and are slightly larger than the regular glass marbles that made up the majority of the bench inlay. I used them in the corners to help secure all of the other marbles- so they wouldn’t roll away as the epoxy was setting.
I went to the toy store and bought so many marbles. It was awesome. I decided to avoid grouping them or trying to control the color pattern. During the inlay process, my rule of thumb was generally to not put the same color/style of marble next to each other.
My boys came to the shop with me one day and helped me put marbles in. The marbles are set in a groove that was cut into the base stone- a large chunk of bluestone. I used a very heavy duty epoxy as the setting agent. Each marble has a couple of small cut on their backsides to ensure that the epoxy has something to bond to. The boys also helped me figure out how many marbles I needed to buy. It was a practical math problem we solved over dinner one night.
My friend Wally loaned me his cherrypicker engine hoist. We used it to get the big pieces off the truck. From here we dropped them onto our cart and brought them to the installation site. We used the cherrypicker again to set them onto the mortar bed. Because the bluestone bases were precision cut and had fine corners- and because they were full of marbles- we didn’t want to risk our typical approach of flipping things around and muscling them into place. Sometimes we are capable of finesse! We used Lewis pins to lift the stones. Holes are drilled into the top of the stone and the pins slide in. When you lift it up, the pins ‘grab’ the stone and lock in place. The holes are under the slab and out of sight in the finished installation. The three small pieces on the top are spacers that give the seating slab a lift and help imply a floating feeling. They are epoxied and pinned in place. The holes you can see on the top of those pieces were for pins that slotted into the bottom of the seating slab. These will not be easily undone.
A look down one side of one bench during fabrication. I could only do one side at a time and I ended up redoing a lot of parts because my starting point with the epoxy was nervous hopefulness. It was a messy process and it took me a while to figure out how to make it work and look good. And since I was practicing on the finished pieces- not the smartest thing to do I admit- I had to undo a bunch of things. I expect that for the next few years I’ll be finding marbles at the shop that have been flattened top and bottom as I cut them out of these benches. But now I got epoxy swagger!
A thick slab of Tennessee sandstone is supported by two fieldstone boulders- also from TN. Both boulders are anchored into a single slab of concrete that is about the same size as the slab. This prevents differential settling- having one leg start moving away from the rest of the bench.
We recently installed two natural stone benches at King Daddy’s, an excellent little chicken and waffles restaurant in West Asheville. The two benches rest on the edge of their covered patio/outdoor seating area. Two large bluestone bases support slabs of Tennessee sandstone. The bases have glass marbles (mostly glass anyway- the ones on the corners are banded onyx!) laid into them. It’s partly inspired by my fascination with benches that are super sturdy but look like they might fall right over (see the Harmony Benches we’ve built or the Floating Bench to see the start of this obsession. It’s also inspired by a tale I’ve heard, but never confirmed, that old school masons would put glass marbles or lead balls between large stones when constructing a building. The marbles acted as spacers and prevented the heavy stones from squeezing out all the mortar between them. And I’ve always had a fascination with marbles in general; we find them all the time digging in people’s yards to install a patio or wall. I had a great deal of fun buying all these marbles. It’s a good time when you can go buy toys with the company credit card! Shout out to Dancing Bear Toys!
We recently designed and installed 2 memorial benches. Similar to some of Hammerhead’s previous memorial projects, these benches were created to commemorate the lives of loved ones.
This first bench was commissioned in memory of a Labradoodle named Ginger. We had the sandblasting engraved by our good friends at Martin Monuments.
The second of the memorial benches was installed beside a lovely stream at Carolina Memorial Sanctuary in Mills River, NC, just outside of Asheville. Carolina Memorial Sanctuary is a cemetery that is centered around conservation and sustainability. The Sanctuary offers natural burials for humans, pets, and cremated remains for a fraction of the cost of today’s typical burials.
At Hammerhead, we enjoy the challenge of creating new designs for stone benches. We seek a balance between bombproof structure and graceful aesthetics, and we like our benches to be whimsical. The labyrinth project we competed for First Baptist Church of Asheville is comprised of four of our bench designs, including our modern stack bench.
The columbarium area of the Memorial Garden at First Baptist Church of Asheville contains four modern stack benches. The benches have a very clean, modern aesthetic. The design committee requested something more formal while not overtly like a highly polished memorial bench found in a graveyard.
Materials Used for the Modern Stack Bench
A rough hewn granite block anchors the bench to the concrete. Pennsylvania Bluestone comprises the seats, topped with reclaimed black granite. The granite serves as a spacer, which creates a shadow that suggests that the big blue slab is floating over the granite.
All of the materials used for the benches figure heavily in the overall design of the garden. We wanted the benches to help unite the various elements of the design. The black granite used in the benches resembles the granite used for the columbarium vaults as the place where names will be engraved. This provides a unifying element with other areas of the Memorial Garden.