The soap that my wife Amy lovingly and tirelessly makes with the milk from the goat’s we raise is finally available online again. If you go over to Baumwerkshop there are multiple listings of all the different scents available. Most use essential oils, and a few use fragrance oils. Shipping is free until June 10 if you enter the coupon code “clean” in the requisite spot while you’re checking out. -thank you!
The “Stone Hefter”, a small wood engraving and lesser spiritual lever
Does It Matter
The question “does this matter” is part of the consistent and insistent background chatter every day of my life. The question never goes away and has a thread of doubt woven through it, but it is balanced with the choices that I’ve made as an individual, and also as part of a family and part of a community that says “yes, it does matter”. It is a faith wager to keep doing it every day. It is not unlike lifting this stone.
When I make art I am praying. I am listening and I am seeking. Please do not misunderstand, it is not a righteous act but a desperate one. When I labor to make a print like this I am asking – begging God that it will be a lever for His Kingdom and His goodness- that it might become part of His own expression. The images and the labor are connected to a mystery as a spiritual practice. Everything is more than it seems, in the same way that a single word in a poem can become a passageway into a new story or a different world that, as it turns out, is vitally interconnected to this one.
Then I have to navigate what to do with it once I’ve made it. The path (in spite of my countless attempts to take it other places) always leads to a wide river called “marketing”. I am on one bank and the rest of the world is on the other. I’m all but convinced that I will drown if I go in. It is a strange baptism.
The Spiritual Mechanics of Labor and Rest is a relief print edition carved and printed by hand from a block of linoleum. It is available for pre-order in the Baumwerk Shop. It will be an edition of 100 prints. Numbers 1-75 will be black ink on white paper, while numbers 76-100 will be sepia ink on cream paper. There will be a separate listing for each color option. The black and white prints will be ready for shipping sooner on March 23rd, while the sepia and cream prints will be available a few weeks later.
The Spiritual Mechanics… began as a way of building a repository or archive for many of the symbols that help me to understand my place and function in the world and the Kingdom of Heaven. It is, after a fashion, an info-graphic which serves a developing theology around the ancient kinship of labor to worship.
At the heart is a worldview which sees an holistic unity between what is spiritual and what is natural. These are crude words and a crude image which is looking towards something that is deep and nuanced in its beauty and inherent goodness within the mind of God. My hope is that in here is an echo of God saying of the earth and creation, “It is good”. Also the echo of the Words of the Creator resident in every atom and particle. May it be an echo of John the Baptist saying “change your hearts and minds, because the Kingdom of Heaven is at hand!” May it be an echo of Jesus saying “it is finished” on the cross. Heaven is coming to earth and our labor here is not in vain.
The Spiritual Mechanics of Labor and Rest is also a prayer and an offering. It is the noise my heart makes towards God, offering the smallest and most mundane moments of my days as He simultaneously offers them to me. It both seeks to say and asks if it’s really true that labor spent shoveling dirt in a garden , roofing a house, or cutting a stone before God can be as significant a spiritual lever as the most noble words of the priest in the cathedral, or the pastor behind a pulpit, or the hands of a healer in a tent.
I have more openly exposed my heart in this image than in my previous work, where it is shielded by narrative. In following posts I will seek to lay out the symbolism and stories behind the details depicted here, but it should be understood that I have sought to use images like these because for me the words are fundamentally insufficient to describe what it is that I see and seek.
I also hope that you will consider purchasing this print. Many of you know my ambivalence towards the marketing. However, I believe I am called to engage the “marketplace” with my work in a way that settles with my conscience and ethics. Here is a link to pre-order The Spiritual Mechanics of Labor and Rest.
Concerning the invitation to occupy the sacred rhythm of labor and rest and to engage the “resistant materials” not for provision first, but for relationship, for worship, for knowing God. I’ll share more on this when the print is done. The block is about 75% carved. I hope to be able to start making some proofs of the image in two or three weeks.
This song, from the days when I had time to make such recordings, I have not shared before. I always have felt that my recordings are more a like “sketches” or fragments of ideas (what would it be like if…) than any finished songs. I admit that I’m self-conscious of this material, from the engineering, to my voice, and the songwriting itself. But it has sat gathering dust. As an artifact of the story it should be laid out in the light. AMDG
If you listen, thank you for listening. If you read, thank you for reading. If you see, thank you for seeing. Go On, V
Below is a gallery of images of a pair of cabinets built for the bathroom of a couple in Wichita. They are constructed from native (specifically South Eastern Kansas) black walnut, solid and veneered, and white oak. The exterior surfaces were “ebonized” using a process which employs the chemical reaction of an iron solution with tannins in the wood, rendering it black. The design of cranes and bamboo were carved into the surface revealing again the natural color of the walnut in the incised lines. I hired Taylor Johnson to build the casework itself. Using traditional methods, the interior framework is a solid skeleton held together with dovetail and mortise and tenon joints. Taylor fabricated plywood with extra thick shop-made walnut veneer to be able to handle carving without passing through to the inner layers. His focus and skill allowed me to give attention to the design challenges and the artwork and carving and exterior finishing the cabinets. My gratitude goes out to Taylor for his tenacity and dedication to excellence, and also to Steve Hebert, who generously gave his time and energy to brilliantly photograph the cabinets in situ.