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La Biota: Difference between revisions
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The second sense of “la Biota,” that of nakedness, is perhaps more subtly realized in Sottocasa’s work. He speaks somewhat cryptically on the matter, stating,<blockquote>“the pipe cannot hide secrets but must be absolute truth. That is, it must be an object capable of saying everything, without the need for intermediaries.”</blockquote> | The second sense of “la Biota,” that of nakedness, is perhaps more subtly realized in Sottocasa’s work. He speaks somewhat cryptically on the matter, stating,<blockquote>“the pipe cannot hide secrets but must be absolute truth. That is, it must be an object capable of saying everything, without the need for intermediaries.”</blockquote> | ||
[[File:La biota poker Ukraine auction.png|alt=|thumb|A poker-style la Biota made for the 2022 Ukraine Charity Pipes auction organized by Nanna Ivarsson and Per Billhäll. Image courtesy Scandpipes.com.]] | [[File:La biota poker Ukraine auction.png|alt=|thumb|A poker-style la Biota made for the 2022 Ukraine Charity Pipes auction organized by Nanna Ivarsson and Per Billhäll. Image courtesy Scandpipes.com.]] | ||
Given that Sottocasa also characterizes his work as eschewing “recurring typologies,” we may infer that these remarks refer to an ideal of univocity in la Biota pipes. In other words, Sottocasa’s view is that pipe makers should strive to create unique works that resist attempts to interpret them by way of something else – another pipe, a shape, or a particular school or tradition, for example. While Sottocasa speaks of his explorations of the Danish style and of a role played by more classical references in his designs, he qualifies this by stating that each pipe should maintain “its own definition”. With this in mind, Sottocasa does not use a traditional lathe, opting instead to shape each pipe by hand on a wood lathe.<ref>For more information on the differences between types of lathes in pipe making, a short Pipedia,org entry can be found [[Metal Lathe|here]].</ref> | Given that Sottocasa also characterizes his work as eschewing “recurring typologies,” we may infer that these remarks refer to an ideal of univocity in la Biota pipes. In other words, Sottocasa’s view is that pipe makers should strive to create unique works that resist attempts to interpret them by way of something else – another pipe, a shape, or a particular school or tradition, for example. While Sottocasa speaks of his explorations of the Danish style and of a role played by more classical references in his designs, he qualifies this by stating that each pipe should maintain “its own definition”. With this in mind, Sottocasa does not use a traditional, metal lathe, opting instead to shape each pipe by hand on a wood lathe.<ref>For more information on the differences between types of lathes in pipe making, a short Pipedia,org entry can be found [[Metal Lathe|here]].</ref> | ||
The majority of la Biota pipes are made using briar, but Sottocasa also makes pipes from bog oak (morta) and olive wood. He is particularly fond of shank accents and uses a variety of materials for these embellishments. Horn rings and ferrules are particularly common features on la Biota Pipes. Sottocasa uses both acrylic and ebonite resins for his stems, all of which are hand cut. A gallery of some of Sottocasa's pipes is available below. | The majority of la Biota pipes are made using briar, but Sottocasa also makes pipes from bog oak (morta) and olive wood. He is particularly fond of shank accents and uses a variety of materials for these embellishments. Horn rings and ferrules are particularly common features on la Biota Pipes. Sottocasa uses both acrylic and ebonite resins for his stems, all of which are hand cut. A gallery of some of Sottocasa's pipes is available below. | ||