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Richard Haining STACKED Pronghorn Vessel, Alaskan Cedar, Yakisugi, Available Now

About the Item

Richard’s work is driven by the concept of renewal—transforming salvaged materials into functional & decorative art that embodies beauty, craftsmanship, & environmental mindfulness. As an artist, he’s dedicated to this intersection—working exclusively with wood salvaged from from around NYC; from offcuts & scraps from local workshops to discarded old-growth lumber from prewar buildings. Richard, reimagines these materials, destined for landfills, is an act of renewal honoring the material’s history & its potential for a new life. These materials are found in various shapes & conditions, requiring significant time to transform it into something consistent and usable. Then, piece by individual piece, layer upon layer, he guides the wood into the desired shape, something akin to a coiled ceramic pot. Once constructed, he refines the surfaces by hand, revealing imperfections: mineral stains, contrasting heartwood and sapwood, knots, century-old nail holes—marks of the wood’s history. This vessel is made of Alaskan Cedar, salvaged from a decommissioned NYC Water Towers. The ovoid form is inspired by the ceramic vases, urns, and amphorae from Classical Antiquity to East Asian design, 17th-century European Craftsmanship, the Italian Renaissance, among others. The handles…this past summer, Richard took a trip to Yellowstone. One day, they were out on horseback and came across a group of Pronghorns, a beautiful creature that looks similar to a deer but is it's own unique species. He became quite drawn to their antlers, and this vessel’s handles became a gestural equivalent. The raw wood has a light yellow coloration with rather plain grain patterning. By incorporating the Japanese method of heat-treating the surface of the cedar with fire, called Yakisagi, the surface takes on an entirely new dimension. The charring process caramelizes the sugars in the wood, resulting in the deepest of maroon/cognac tones that read warm in the daylight but dead black in the nighttime. This charred surface is then honed, resulting in a light iridescent quality that is highlighted by the hand-rubbed finish. By juxtaposing repurposed ‘low-value’ materials with ‘high-art’ forms, Richard invites viewers to reconsider what is truly valuable. Ultimately, he hopes his work sparks a conversation about sustainability, showing that art, craftsmanship, & environmental responsibility can coexist—and that beauty can emerge from the most unexpected places.

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