Visual Voices: The New School of Inlaid Art on Guitars & Banjos June 2, 2007

In its simplest definition, inlay is the decorative process of gluing shell, metal, stone, tusk, and other materials into a cavity hollowed from a surface. It is an ancient practice; the earliest known inlaid object is from Mesopotamia, around 3000 BC. In recent centuries, artists have applied inlay to musical instruments, adding visual aesthetics that match or augment their musical capacities. The result is the creation of extremely rare and original instruments that transcend their function and become art themselves.

The ground breaking exhibition Visual Voices: the New School of Inlaid Art on Guitars & Banjos explores the art and craftsmanship involved in creating these functional masterpieces. Luthiery (guitar making), like inlay, is a highly skilled practice, and this exhibit will be the first of its kind, showcasing the unique relationship of these two distinctive artistries. The inlay artists featured are: Larry Robinson, William Grit Laskin, Harvey Leach, and Renee Karnes, each renowned within the luthier and inlay communities for instruments of staggering quality.

Inlay traditions can be as varied as the cultures and time periods they represent. The particular techniques, materials and visuals presented by these artists and their contemporaries in the new school of instrument inlay manifest very different expressions of cultural identity than the heavily ornate 18th-century Italian instruments, or the elaborate furniture inlay work of the Ottoman empire. One distinction is in material, or media selection. In traditional ornamental inlay, materials were chosen based on their perceived value, independent of artistic application. While precious and rare media such as mother-of-pearl and abalone are still mainstays of the inlay artists palette, Larry Robinson has employed such exotic media as plastic from toys bought at a yard sale. Harvey Leach found that a floppy disc cover was just the right color blue for the American flag on his 9-11 guitar.

Other materials introduced in recent times are Corian, a synthetic hybrid, recon (reconditioned) stone, and polyesters. It is not uncommon to see a wide variety of materials in a single instrument - everything from plastic and shell to glass, ruby, and 18k gold. Techniques and tools have evolved as well. The cavities created in wood can now be made by motorized tools, and artists have access to miniature bits for extreme precision.

These artists mastery has reached a point of unparalleled detail and expression, allowing for incredible depth and narrative conveyed in the limited physical space afforded by a stringed instrument canvas. Grit Laskins work is known for its often surreal scenes, in which the inlaid imagery serves as a small window into a larger world, with action occurring off-stage. Larry Robinsons inlays similarly transcend the physical boundaries of the instrument, expressing time and space beyond the fretboard. Renee Karnes banjos depict dazzling scenes with implied motion and a sense of natural majesty. Harvey Leach is able to simulate certain substances and visual effects through new techniques that he originated.

The Museum of Making Music strives to capture the spirit of music making in its many forms, and this exhibition is a realization of that mission. The exhibition comprises 17 one-of-a kind instruments, tools and materials used in inlay, and a video examining the process of inlay on instruments. Experience the craftsmanship, brilliance, and art of inlay during this unprecedented display, which runs from June 2 through July 15, 2007 at the Museum of Making Music in Carlsbad, California.

Event submitted by Eventful.com on behalf of museumofmakingmusic.