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Following an unprecedented pandemic year, the heightened visibility of health inequity throughout the nation has elevated concerns about mental and physical well-being, the industrialization of medical practices, disease, illness, and (dis)/ability.

Featuring multimedia artworks from 36 Gulf South artists, the CAC’s annual Open Call exhibition offers a deeply personal portrayal of artists’ experiences with health and illness, and the reverberating impact on the life, body, and psyche of the individual and their community.

Artemis Antippas was born in 1985 in New Orleans, Louisiana to an abstract painter mother and an art dealer father. Antippas attended American University, where she received her BA in Public Communications and Art History. She has shown her work in galleries and museums throughout the country including the Urban Institute of Contemporary Arts (Grand Rapids, MI), Treat Gallery (New York City), Katzen Arts Center (Washington, DC), and The Dairy Center of the Arts (Boulder, CO). Locally, Antippas has exhibited throughout Louisiana at The Ogden Museum of Southern Art, Contemporary Arts Center, McNeese State University, Jonathan Ferrara Gallery, Barrister’s Gallery, LeMieux Gallery, and multiple Prospect satellite exhibitions. Being born in New Orleans and growing up in an art-centric family have both been strong influences in Antippas’ artistic approach and daily practice.

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Jan Arrigo is an award winning New Orleans area visual artist and writer exhibiting nationally at venues including Soho Photo (NYC), Center for Photography (Monterey, CA), The Griffin Museum of Photography, S.E. Center for Photography, (Greenville, S.C.), The Center for Fine Art Photography, (Ft.Collins, CO), South x Southeast Photo Gallery, (Molina, GA), Artworks Gallery, (Austin, TX), Brickworks Gallery, (Atlanta, GA), T.T. Wentworth, Jr. Museum, (Pensacola, FL) the CAC and The New Orleans Photo Alliance Gallery. In 2019 she won 2nd place at the St. Tammany Art Association Gallery’s National Juried Artists Exhibition curated by LouAnne Greenwald, Executive Director of the Paul and Lulu Hilliard University Art Museum at the University of Louisiana at Lafayette. Her Photo Nola show “Jan Arrigo: The Corpse is the Wax Museum” was held over from 2016 to 2017. Photo publications include: A Photo Editor, L’oeildelaphotographie, Country Roads and The Times Picayune. She received a BA in Communications from Loyola University, studied art history at CUNY, photography at ICP and painting at The Art Student’s League in New York. She’s authored several books about New Orleans and contributed to The American Art Book (Phaidon) and The Encyclopedia of Sculpture (Routledge), among others.

Abdul Aziz, a freelance New Orleans-based photojournalist brings a rich background of chronicling imagery of global communities, from the Middle East to Africa, Asia, and the United States to his work. He has worked in documentary filmmaking worldwide for over 2 decades chronicling social issues related to race, exploitation of indigenous cultures, and unfair labor practices. His most recent work has focused on the resurgence of White Supremacy in the United States and the Movement for Black Lives. He was recently named Documentary Photographer of the year by The Louisiana Endowment for the Humanities and is a contributor to publications such as the New York Times and Bloomberg Businessweek.

Micaela Rianne Cadungog is a multidisciplinary artist dissecting the dualities of the female body: the conflict between shame and sexualization, the separation of the physical and emotional self, and the association of violence and tenderness. Drawing from her personal experiences, she traces her history of intimacy, her relationships, and their emotional impact. She draws further inspiration from the physical spaces where these relationships develop, particularly the bedroom and other domestic spaces. Her work, consisting of photographs, fiber works, and personal artifacts, attempts to regain comfort within these spaces and to mend the gap between these dualities. Cadungog received her BFA in Photography/Digital Media from the University of Houston. Her thesis show, It Turns Into Memory, was exhibited at Flatland Gallery. In Summer 2019, she was a resident of Project Row House’s Summer Studios Program. She has also shown work in curated group shows with Art League Houston, FLATS, and Hardy & Nance Street Studios. In 2020, she had her first solo show with Alief Art House entitled Intimate Restlessness.

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Anita Cooke moved to New Orleans upon receiving her BFA at Kent State University in Ohio and later earned her MFA at Newcomb/Tulane University. She has taught Ceramics, Drawing and 3-D Design at Tulane University, Loyola, Delgado, Stephen F. Austin State, Western Michigan State, and ceramics out of her studio in New Orleans. Cooke’s 28-foot ceramic mural “LightSounds” can be seen at Western Michigan University. In 2005 Cooke was the recipient of a Louisiana Fellowship Award and in 2017 she was honored by the New Orleans Museum of Art. She has exhibited work extensively in Louisiana at The Ogden Museum of Southern Art, the CAC, the New Orleans Art Center, Capitol Park Museum, Carroll Gallery of Tulane University, and the Acadiana Center for the Arts. Nationally she has shown at the Southern Ohio Museum of Art, The Greenwood Arts Center (SC), Reece Museum (TN), Sebastopol Center for the Arts (CA), Georgetown Arts Center (TX), Manifest Gallery (OH), Artfields in Lake City, SC, and the Virginia Quilt Museum (VA) among others. She is a member of the Renegade Artist Collective and Baton Rouge Gallery, Center for Contemporary Art. She is currently working with sewing and fabric, mixed media, drawing and collage.

Stephen Paul Day, a committed modernist romantic, disillusioned with his provincial state of art, began his studies in lithography at the Ecole des Beaux-Arts in Paris, France. Longing for an existential experience, Stephen flourished in France. In 1985 he was awarded a residency at the Experimental Glass Workshop in New York City. His exhibitions, Kryptonite Lies and Robber Barons, cemented his position as an artist in the city where he remained for the next six years. He had his first solo show in New Orleans at the alternative Bienville Gallery. Since that time he has actively shown with the Arthur Roger Gallery. In 1990 he met his wife Sibylle Peretti and created the collaborative team, Club S+S. Their works together would bring them worldwide as resident artists and with exhibitions in Japan, France Germany and the United States and Mexico. These journeys included two residencies at Wheaton Arts, the Kohler Factory, and at the Freies Museum, Berlin. Their exhibitions included 1822 at the CAC in New Orleans, Diluvial Hood in Berlin , and an unofficial Souvenir Wagon for Prospect 1. They have been awarded many grants including a Joan Mitchell career grant, a Pollack Krasner grant, and a Wharhol Foundation grant.

Kabot + Desmarais is a contemporary art partnership between sculptor Sarah Kabot and artist/architect Marianne Desmarais. Kabot + Desmarais collaborate fully to make sculpture and environments that appear to change as a viewer’s point of view shifts. In previous projects, sources of inspiration included the geometry of knots, fluid dynamics and interference patterns. Their collaborative work is in the permanent collections of the Cleveland Clinic and Westin Hotel.

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As a studio artist, Sarah Kabot has exhibited nationally and abroad, including commissioned works for the Akron Museum of Art (OH), MOCA Cleveland (OH), the Peabody Essex Museum (MA), and the Drawing Center (NY). Kabot has developed site-specific artwork for the Cleveland Clinic (OH) and the West Collection (PA). Recent honors include an Ohio Arts Council Grant and a residency at The Hambidge Center (GA). She currently is the Chair of the Drawing Department at the Cleveland Institute of Art. On the K+D team Kabot brings broad knowledge of the art field and administers concept representation and deliverables.

In her art practice, Marianne Desmarais has been invited to residencies at both the Joan Mitchell Center (LA) and the Banff Center, Alberta (CA). Her work has been featured in Ceramics Monthly and Pelican Bomb, with collaborative work in Azure and FiberArts. Recent solo shows include gather at Staple Goods (LA) and samples + patches, an exhibition at the CAC (LA). She has participated in the Atlanta Biennial (GA) and exhibitions at SCAD (GA), the CAC and the Ogden Museum of Southern Art (LA). Her work has traveled with Imago Mundi for the Benetton Foundation and has been shown in New York (NY), Toronto (CA), Shanghai (CN), and Detroit (MI). At Tulane University Desmarais teaches design studio, prototyping, and technology courses.

Muse Dodd is a Multidisciplinary Artist, Curator and DJ from Severn, MD based in New Orleans. Their work centers on the questions, How do you remember and what do you choose to forget? Through the act of remembering, Muse uses their body to map the lived experience of Africans in America. Muse channels trauma to connect with, process and alchemize pain; both personal and collective through movement, ritual and collective dreaming. Muse holds a BA in Film Production from Howard University and studied at the Film Academy in Prague. Muse is a Source Studio Fellow and recipient of the Corrina Mehiel Grant. Muse is a 2019-2020 Leslie Lohman Museum Artist Fellow and was the 2019 DCAC Curatorial Fellow . A former Artist-in-Residence at the Flux Factory, they were also a 2018 Artist-in-Residence at the ARoS Museum in Denmark. Muse video work has been commissioned for

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A tattoo is defined as an indelible mark fixed upon the body by inserting pigment under the skin, and the earliest evidence of tattoo art dates from 5000 BCE. Across time and cultures, tattoos have many different forms and meanings.

The phenomenon of tattooing was once widespread. In ‘The Descent of Man’ (1871) Charles Darwin wrote that there was no country in the world that did not practice tattooing or some other form of permanent body decoration.

The 19th-century German ethnologist and explorer Karl von den Steinen believed that tattooing in South America evolved from the custom of decorating the body with scars. Plant sap rubbed into the wounds to prevent bleeding caused discolouration of the scar. The resulting decoration could be regarded as a tattoo.

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In his book ‘Missionary Travels and Research in South Africa’ (1857), David Livingstone wrote that many Africans tattooed themselves by introducing a black substance under the skin to cause a raised scar. North-American Apache and Comanche warriors rubbed earth into battle wounds to make scarring more visible and flaunt them within the tribe, while the pygmies of New Guinea treated infections by rubbing herbs into incisions in the skin, causing permanent scarring.

Such tales suggest that tattooing probably arose at various locations through bloodletting practices, scarification rituals, medical treatment or by chance. The popular assumption that tattooing had a single origin is discredited.

Charles Darwin wrote that there was no country in the world that did not practice tattooing or some other form of permanent body decoration.

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The earliest evidence of tattoo art comes in the form of clay figurines that had their faces painted or engraved to represent tattoo marks. The oldest figures of this kind have been recovered from tombs in Japan dating to 5000 BCE or older.

In terms of actual tattoos, the oldest known human to have tattoos preserved upon his mummified skin is a Bronze-Age man from around 3300 BCE. Found in a glacier of the Otztal Alps, near the border between Austria and Italy, ‘Otzi the Iceman’ had 57 tattoos.

Many were located on or near acupuncture points coinciding with the modern points that would be used to treat symptoms of diseases that he seems to have suffered from, including arthritis. Some scientists believe that these tattoos indicate an early type of acupuncture. Although it is not known how Otzi’s tattoos were made, they seem to be made of soot.

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Other early examples of tattoos can be traced back to the Middle Kingdom period of ancient Egypt. Several mummies exhibiting tattoos have been recovered that date to around that time (2160–1994 BCE).

In early Greek and Roman times (eighth to sixth century BCE) tattooing was associated with barbarians. The Greeks learned tattooing from the Persians, and used it to mark slaves and criminals so they could be identified if they tried to escape. The Romans in turn adopted this practice from the Greeks.

‘Stigma’ – now meaning a distinguishing mark of social disgrace – comes from the Latin, which means a mark or puncture, especially one made by a pointed instrument.

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Elaborately-tattooed mummies have been found in Pazyryk tombs (sixth to second century BCE). The Pazyryks were formidable Iron-Age horsemen and warriors who lived on the grass plains of Eastern Europe and Western Asia.

Plaster cast of the face of Tauque Te Whanoa, a Rotorua native, of the Arawa tribe showing Maori tattooing, ‘Moko’, performed with a serrated chisel and mallet with soot rubbed into the open wound to provide colouring.

Tattooing may have dispersed from various places by way of migration and by nomadic peoples: the women of various gypsy tribes in India and the Middle East were specialised tattooists. For centuries they provided the tattoos for inhabitants of, and pilgrims to, regions as distant as Eastern Europe. The Scythians were similarly responsible for spreading tattooing from Siberia to Eastern Europe at the beginning of the Christian era.

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Just as relationships exist between languages and dialects over vast areas, so there are similarities between tattoo designs found in regions and cultures far removed from each other. For example, throughout South-east Asia many men had a trouser tattoo that covered the area from the waist to knees. Among the peoples living in the Arctic and along the west coast of America, women tattooed their chin and cheeks with similar patterns.

It is human nature to exchange customs upon meeting, whether out of friendship, respect, envy or curiosity. The reciprocal imitation of tattoos by European sailors and South-Sea Islanders is a good example of this. The trade in prisoners who had been abducted by enemy tribes according to their custom caused tattoo designs to spread over large areas. Men of Borneo and Micronesia collected tattoos when visiting other tribes or islands.

The original meanings of many tattoos are lost. However, body decorations such as scarification, tattoos and piercings have always been an obvious means of distinguishing individuals within a group, and groups within a society. On a personal level, a tattoo is part of one’s identity.

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Historically and culturally, tattoos have been applied both as marks of distinction (awarded for an achievement or signifying the transition to adulthood) and sources of shame (when applied punitively). Pain is an unavoidable aspect of tattooing and to many peoples its endurance was intrinsic to initiation.

At a tribal level, tattoos can indicate age, marital status, power and class, and outside the group they may distinguish friend from foe. In many tribes, women’s tattoos were symbols of beauty that simultaneously ensured they were of no value to neighbouring tribes.

Indigenous tattooing has all but disappeared globally, but in recent years tattoos have experienced something of a renaissance in Europe and North America. The reasons for this are not clear-cut, but it is apparent that tattooing in the ancient world has many things in common with modern tattooing.

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I highly recommend tattoo anthropologist Lars Krutak’s TV series Tattoo Hunter, where he visits some of the most remote parts of the world, seeking tattoos from members of the few remaining authentic tribes. Also see Vanishing Tattoo, an online tattoo museum focusing on the search for the last authentic tattoos.

We use a third party provider, dotdigital, to deliver our newsletters. For information about how we handle your data, please read our privacy notice. You can unsubscribe at any time using links in the emails you receive.I f one thing has become obvious in the summer heat and the inevitable baring of flesh, it’s the degree to which body art is now the norm. At the pool, the park, or the pub beer garden, you’ll find an enormous variety of designs inked on the skin representing the breadth of human creativity.

About 20% of adults in the UK now have at least one tattoo, and that proportion is likely to grow. Cynics might argue that the increased uptake is a superficial fad, based purely on the aesthetic appeal of tattoos. In this view, they might be the result of a momentary impulse to follow a passing trend followed by years of regret, rather than something that holds deep meaning.

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Prof Viren Swami, a psychologist at Anglia Ruskin University who studies body image, thinks that these superficial explanations are highly unlikely. “Given their permanence, and the pain that’s involved, and the planning that often goes into getting a tattoo, it’s very difficult to conceptualise tattooing as a fashion accessory, ” he says.

In his opinion, it is far more interesting to examine the ways that people use body art for self-realisation, as artistic endeavours that are expressions of identity, body ownership, and personal growth. Many are now finding that tattoos are a particularly apt way of marking a bereavement – a means of holding the loved one close after death.

Like any art form, tattooing should be understood in its historical and cultural context. Our ancestors seem to have recognised the skin as a canvas since time immemorial. The oldest definitive proof of body art comes from Ötzi, the 5, 300-year-old body of a man who remained frozen in a glacier near Bolzano, Italy, until it was discovered by two hikers in 1991. He bore 61 tattoos of geometric designs across his left wrist, lower legs, lower back, and his torso. Ancient body art – dating from at least 3, 000 years ago – has also been found in human remains from Egypt, Russia, China and Chile.

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Given how widespread tattooing is – and apparently always has been – some psychologists have suggested it may have an evolutionary purpose. According to one theory, you would have needed to have a robust immune system to survive the danger of infection after getting your skin inked; if you survived, it could show that you had good genes to pass on to your children. In this way, it acted as a fitness signal, making you more sexually attractive to prospective partners. Swami, however, is unconvinced by the theory. “I think it’s much easier to understand tattooing from a social and cultural perspective than it is from an evolutionary perspective, ” he says. In other words, it is the way we use body art to express ourselves, within a particular context, that really matters.

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Tags: JSO , Jacksonville , Duval County , Jacksonville Sheriff's Office , Crime , I-TEAM , Investigations , Reginald Boston , Body Camera

Right before JSO killed a robbery suspect, an officer turned off his bodycam because of a ‘bright blinking light.’ Does that violate policy?

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JACKSONVILLE, Fla. – The Jacksonville Sheriff’s Office’s pledge to be more transparent under Sheriff T.K. Waters is being challenged by a mother who still wants answers following her son’s death.

Saturday will mark three years since Reginald Boston was shot and killed by JSO officers in an undercover operation that injured another. Police said Boston and two others were involved in an armed robbery that led to a SWAT investigation.

The shooting was not captured on video because one of the officers was instructed to turn off their bodycam so the light on the device wouldn’t give away their position.

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Went through all JSO’s body-worn camera policies and looked into what they say about deactivating the device. None of the policies mention anything about a light on the camera as being a reason to turn off the camera.

Evidence photos provided by Yvonne Kemp show the area near a Northside apartment complex where JSO officers hid before the deadly shooting of Reginald Boston, an armed robbery suspect. (Copyright 2023 by WJXT - All rights reserved.)

Police said Boston and two others committed an armed robbery, taking a man’s cell phone at gunpoint. So, the police went undercover to set up a meeting to arrest him.

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Officers armed with guns hid in the bushes outside a Northside apartment complex at night and left a walkway clear. When the three suspects got closer to them, according to JSO’s report, one of the officers yelled: “Police! Don’t move!”

Evidence photo provided by Yvonne Kemp shows one of the officers involved in SWAT operation that resulted in the death of 20-year-old Reginald Boston Jr. (Copyright 2023 by WJXT - All rights reserved.)

Case photo provided by Yvonne Kemp shows evidence markers near a Northside apartment complex where JSO officers hid before the deadly shooting of Reginald Boston, an armed robbery suspect. (Copyright 2023 by WJXT - All rights reserved.)

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According to a lengthy JSO report, an officer turned off his bodycam at the request of SWAT officers because they were told the bright blinking green light on top of the camera would give away their position of concealment making them vulnerable to a possible ambush.

“That’s the first time I’ve heard about that, ” said criminologist Alex Del Carmen. “The actual presence of a bodycam on an officer’s vest. I’ve never heard of that generating a light that is so powerful that we would it will compromise a police officer.”

They’ve been changed 10 times since 2018 when JSO officers first started wearing bodycams. So, submitted a public records request and looked through every version. One of the deactivation policies from January 2020 was updated just three days after Boston was killed. The policy before then was from 2018.

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In the deactivation section of the 2018 policy it says before deactivating body-worn cameras, officers must record a statement as to why they are deactivating it including if their supervisor told them to. It’s not clear if that happened in Boston’s case.

Some other instances where they need to record a statement include, if the situation they responded to is over, if they are getting legal counsel or if they’re discussing strategic or tactical JSO operation planning.

In December, the I-TEAM started asking JSO questions about this case and had multiple email exchanges over three weeks. learned about the agency’s policies and the fact that JSO uses Axon Body 2 bodycams.

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But these two key questions weren’t answered by the time this story was published: Were any of the body-worn camera policies broken in this case, and if so, was anyone disciplined? And, is the department considering using a different model of body-worn cameras since the light on the current one, according to at least one SWAT officer, could put JSO officers at risk?

“I’m going to knock on some doors. I’m turning over every rock. I want to know why, ” she said. “I’m not going into the next year without knowing what happened to my son.”

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Recent bodycam videos released by JSO have shown police firing on suspects after the suspects pointed guns at them, confirming what was reported.

On the flip side, earlier this month, a JSO officer was arrested after the events seen on his bodycam didn’t match what the officer wrote in his report. Sheriff Waters had a strong statement after that officer’s arrest.

“Apparently he just didn’t want to tell the truth at that point. Let me say this, we never relish in arresting an employee of this agency. However, our collective belief of openness, transparency and accountability trumps any personal allegiance. We are a society of laws and no one is above the law, ” Waters said.

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“There is no question that every police exchange and interaction, with very few exceptions, should be subjected to that footage being captured and police officers should be, should be punished for violating policy if in fact that bodycam has been intentionally turned off in circumstances where especially where somebody could be hurt, or it could lead to somebody’s death, ” he said.

Kemp is still looking for clarity in the pages of reports and boxes of evidence, but she can’t look for too long.

“When the truth comes out, I’m going to open them up. Because those bags gonna, what’s in those bags, it’s going to tell a lot, ” she said.Jacksonville Beach Police Chief Gene Paul Smith says his small agency has seized more illegal guns than almost any other agency in Northeast Florida.

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JACKSONVILLE BEACH, Fla. – Jacksonville Beach Police Chief Gene Paul Smith says his small agency has seized more illegal guns than almost any other agency in Northeast Florida.

Since he took over as the top cop in 2019, Jacksonville Beach police officers have made 141 firearms-related arrests, worked 457 gun cases and seized 392 firearms, according to numbers the Jacksonville Beach Police Department released. He says the Bureau of Alcohol, Tobacco, Firearms and Explosives’ Jacksonville office said that’s the second highest number of seized firearms from a local agency, other than the Jacksonville Sheriff’s Office.

Rode with Cpl. Misty Brossart, who patrols Jacksonville Beach. She knows her next call could bring anything, and she can’t let her guard down.

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“People that are driving in, most of the time there’s something that they are doing that is illegal, ” said Sgt. Tonya Tator.

She emphasized officers are only looking for illegal firearms or weapons in the hands of people who aren’t legally allowed to have them.

“You have to search and go through all the steps, ” she said. “That goes back to training on the officer’s part so they understand what they can do and what they cannot do.”

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Tator said the guns are taken as evidence. Police team up with the Florida Department of Law Enforcement and ATF to run the serial numbers through databases and test fire the guns for a national bullet catalog called National Integrated Ballistic Information Network, which connects guns used in violent crimes.

Photos from gun busts show an AK-47-style rifle, high-capacity magazines and weapons with the serial numbers scratched off. Officers said they seized them from admitted gang members and juveniles alike. A large percentage of the cases also involved illegal drugs. Tator said most people arrested were not Jacksonville Beach residents.

“We want you to come out and visit and enjoy our beaches and our businesses, but we want it to be in a safe manner, ” she added. “So if you’re coming here with ill- intent, bringing illegal drugs if you’re in a criminal gang, if you have an illegal firearm, we don’t want you out here.”

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In April, 2 men were injured in a shooting in the city’s nightlife district. Police arrested one of the injured men on a charge of possession of a firearm by a convicted felon.Sheriff: Armed man on dirt bike leads detectives to guns used in past Jacksonville shootings3 adults, juvenile arrested after incident after hours at Westside High sparks Operation Safety Net investigation

JACKSONVILLE, Fla. – As a continued effort to fight violent crime and remove guns from the streets, the Jacksonville Sheriff’s Office announced Tuesday the arrest of three adults and a juvenile and the seizure of multiple guns connected to several shootings across Jacksonville.

Jacksonville Sheriff T.K Waters said in the news conference that the arrests were a result of Operation Safety Net, which is a part of JSO’s “commitment to protect children.”

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Waters said the arrests were in connection to a February incident that happened when police saw 19-year-old Jaylin Orange on Instagram Live riding a dirt bike and flashing a handgun with an

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About: Furniture designer and maker (Norman Pirollo) at Refined Edge Design and Pirollo Design, editor and publisher of WOODSKILLS Magazine. I discovered a passion for working with wood at an early age. Currently fol… More About woodskills »

Each drawer, tray and compartment divider is individually fitted to accommodate the overall jewelry box dimensions. The bottom drawer glides along rails on either side of the drawer opening, the drawer has corresponding grooves. Each compartment divider can be removed to allow for a larger compartment and to accommodate larger pieces of jewelry. The sliding trays allow you to view contents of the compartments below . The exterior woods used are hand-picked for each jewelry box with matching grain orientation. Figured wood tops are available as an option. Hand-carved handles are also selected to accentuate the wood selected for the box itself.

A view of the roughly prepared blanks for the tops and sides of the jewelry boxes. The wood in this series of jewelry boxes is mahogany. Mahogany features an interlocking grain pattern which can present a challenge when using hand tools. Preparing rough boards for a series of jewelry boxes allows me to better select the most appealing grain pattern for the sides and top. The aesthetic of the jewelry box is as important as the quality of construction. You can see that skip-dressing of the boards allow the underlying lighter color of the fresh wood to be seen before it has been exposed to light.

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Another view of the rough sides and tops for two jewelry boxes can be seen here. These boards are approximate in dimensions of length and width and are in the process of being machined to an exact thickness. I always create multiples of jewelry boxes, either in pairs or up to 20 at a time, to make efficient use of machine and jig setup.

The sides and top for the box itself are prepared next. Grooves and rabbets are created using jigs to ensure precise layout. The mitered ends of the sides can also be seen. Reinforcing splines will be added later to bolster the mitered corners. Another version of the jewelry box has hidden splines inserted to reinforce the mitered corners. The dimensions of the four sides are accurately cut to ensure that the miters fit snugly together and the box remains square from top to bottom.

The perfectly fit sides and floating top are now clamped together. I typically use two band clamps as the one shown to ensure that clamping is uniform from top to bottom. Band clamps are an excellent tool to put together large boxes such as these jewelry boxes. Clamping pressure is adequate to ensure the mitered corners mate and maintain enough glue to create a joint. Too much clamping pressure could distort the box and can cause the sides to slide slightly if another clamping technique is used instead. The plastic corners attached to the band clamp keep the mitered corners in place. It is critical to allow the jewelry box top to float in the groove to ensure that expansion of the top does not break apart the box.

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Two views of a small series of jewelry boxes which have been fitted with drawers and trays. The contrasting exotic hand-carved wood handles are then fitted to the top and drawer of the jewelry box. It becomes critical to follow a pre-determined assembly sequence to maintain some efficiency in producing these jewelry boxes. I typically have the carved handles prepared before hand.

An overhead view of fitting process, individual components of the interior of the jewelry box are hand planed to tolerance. Although several components can be interchanged between jewelry boxes, the focus is to ensure each component is fitted to a particular jewelry box.

The ends of the individual dividers are squared to perfect perpendicular orientation to the length using a shooting board and shop built wooden hand plane. The shooting board excels at squaring small components such as the dividers used in the jewelry box trays.

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The process of smoothing or dimensioning a compartment divider to exact dimensions using specialized hand planes. Each divider is hand-fitted to its tray. The goal is to be able to interchange components but this is not always the case as each tray and compartment is slightly different in some way.

The interior of a typical jewelry box with the trays fitted and dividers installed. Here, the lid is bare and will be built up in the next stages. Each tray can be removed to better access the compartments below. The bottom drawer of the jewelry box has larger compartments to hold larger pieces of jewelry. The drawer dividers are approx. 1/8 in. shorter than the drawers to allow for the padded velour drawer bottoms. Once this padded velour bottom is installed, the drawer dividers rise to the level of the drawer compartment sides for a flush fit. After the final finishing process, the jewelry box begins to attain its final color and patina through exposure to light and aging.

The exterior of a black cherry jewelry box with bird's eye top panel. There are a few more steps to complete prior to application of the finish and final rubbing out. Note the hand carved handles. A large selection of figured wood tops are available as well as solid wood tops. Since the jewelry boxes are designed to be uniform in size, the tops can be interchanged between jewelry boxes.

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Another view of the black cherry and bird's eye top jewelry box at 75% completion. The interior of top lid needs to be handcrafted and fitted next. All compartment dividers have now been fitted and installed. An optional brass lock can also be fitted at this stage. The jewelry box is built up in stages much like an assembly line for cars!

A series of jewelry boxes in various stages of completion. White Mountain Design jewelry boxes can be ordered with different selections of woods and tops. Here, the jewelry boxes are of black cherry with contrasting bird's eye maple tops in different shades and figure. Having the dimensions of the jewelry boxes standardized allows the interchange of larger and smaller components between boxes. At least, this is the plan :)

To make the most efficient of machinery and jig setups, I have often created upwards of twenty jewelry boxes at a time. Since the dimensions of the jewelry box are standardized, it becomes easier to interchange different combinations of boxes and tops. Contrasting, figured tops or solid raised tops can easily be fitted into existing mahogany, maple or cherry boxes. Custom-sized jewelry boxes can also be seen in this photo. More of the advantages and cost-effectiveness of creating multiples are discussed in the "Start Your Own Woodworking Business" course offered by WoodSkills.

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Shooting the miters for the inside panel frame components. This is performed after the components are sized to the inside lid. Shooting the ends of drawer and tray components guarantees a perfect 45-degree joint or corner for the inside lid components. The shooting board can be used to shoot either 45 or 90 degree ends of components. Perfect miters are critical as gaps in joints take away from the quality of the jewelry box.

The inside of a lid with frame components and inside panel installed. There are a few more steps to follow before application of the engraved brass plate. A carved wood mount to which the brass plate is affixed is handcrafted next. The carved wood mount is centred in the top inside panel and the brass plate in inlaid into the wood block.

A White Mountain Design brass insignia has been applied to the inner lid and all frame and panel members have been glued in. The gold-plated lock and the wood mount for the customized brass plate are next. The combination of brass maker's mark and personalized brass engraved plate add a level of craftsmanship to the product.

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The gold-plated lock has been installed in one of our black cherry jewelry boxes. The escutcheon is only temporarily mounted for fitting purposes. The lock has been tested for proper operation. Extreme care is taken to fit these locks as the process cannot be reversed and any damage or errors essentially trash the jewelry box.

Two completed jewelry boxes ready for delivery. The exteriors have had finish applied and have been hand-rubbed. The interior compartments are lined with velvet and ring holder compartments installed in each of the sliding trays. Personalized brass plates and holders have been completely installed. The personalized brass plates can now be seen installed.

The completed jewelry boxes with bottom drawer open for a better idea of the size of the drawer compartments. Each jewelry box has slightly different characteristics in the graphics or grain pattern of the body and the figure of the bird's eye top. The client is essentially receiving a unique, one of a kind product even though the dimensions are standardized between jewelry boxes.

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An exterior or bird's eye view of the same jewelry boxes. The contrast between the black cherry body and the light bird's eye tops

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