I am leaning heavily on Gruenwald for this drawing of the crucifixion scene. This image will be transferred to a wooden panel for oil painting.
I would like to share these images of a black walnut bedroom, including a king-sized bed, side tables and a dresser, designed and built with my best friend Cody Rolph. We started this project in 2017 and finished it in 2020.
The design and joinery of the pieces in this group hopefully don’t arbitrarily feature pretty slabs of wood, but intend to capture or rather release the light and cadence of the old trees we collaborated with to build humble furniture. We try to see our human efforts humbly in the light of the wrought out witness which the trees spent their lives fashioning.
One of the trees we used for this came from the Walnut River valley near Augusta, Kansas, where it was uprooted and set for a number of years suspended by its roots and crowns. My personal experience suggests this process of drying “in the log”lends a quality to the color- different to other air drying methods. Another walnut tree we used came from Cody’s land in a draw on the county line between Greenwood and Elk counties. A third came from a farm near Winfield, KS- on the banks of the Arkansas River- where we scavenged the rejected leavings of a logging operation. All of these trees have peculiar and noble stories and voices, as expressions of a land and of its mineral and even spiritual atmosphere.
There are over 500 ebony and walnut butterfly joints throughout the pieces. Many of these serve a structural function, in knitting together knots and fractures throughout the slabs. We made the decision to use them aesthetically and rhythmically as well, in an attempt to interact with the movement and tension present in the slabs and their juxtapositions. Every butterfly was individually made and cut in by hand. This isn’t necessarily a testament to skill, but to the frail beauty of hand made lines versus machined perfection. The long labor isn’t to impress, but hopes to be a contemplative act of prayer in process, and to invite and serve that same response in the viewer.
In the same contemplative spirit, all of the structural joints are “through” mortise and tenons, with hand cut dovetails on all of the casework and drawers. The hardware are re-purposed spikes from a derelict centenarian railroad bridge located on Cody’s land.
Thank you for taking the time to look at these images of my friend Cody’s and my celebration and wonder at the crystalized voice of our God in the ligneous song of our brother-trees. Thank you especially to Steve Hebert for having the gifts and knowledge to be able to photograph these pieces for us.
The Order of the Dung Beetle, 2022 linocut
The Order of the Dung Beetle Sticker
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my good friend Seth Wieck wrote this poem
For Jack
Gavel gather our Order of the Dung Beetle.
Convene the turd rollers who work the earth’s treadle.
Six-footed levers reciprocate their treasures—
outcast,fall off and waste—our disgust, their pleasures
in spheres composed of compost, rumen, and seed germ,
chewed straw rechewed and strewn clear of lofted tails.
Firmpellets on which they dance and feed their lowlyyoung.
Dung Beetle priests atone, make our shit holy.
I built this round walnut table for a young family over the summer and into the fall. The base is mortise and tenon. I hoped for it to carry some of the feeling of the vaulted interior of a timber framed barn. The wood for the base came from gun stock maker in Wichita who gave me some timber from his stock before he passed away. The wood for the top was harvested from my friend’s land near Fall River, Kansas.
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.
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.
We have produced two limited editions, one large and one small, reproducing the oil painting I made of Jacob Wrestling with God. These reproductions were painstakingly digitally edited and then individually printed by my good friend Mike Schultz in his Portland, Oregon studio. The image is printed on a satisfyingly thick Epson hot press bright white paper using Epson inks. The colors are vivid, rich and archival. Each print is personally signed and numbered.
As stated above, we’ve made two sizes of prints, and they are available for sale in our online store, Baumwerkshop. There is a listing is for the larger of the two, which is 17″ x 20″, and a listing for the smaller, which is 8 1/2″ by 10″.
The original painting of Jacob was made in 2012. I have continued to be amazed and humbled by the impact the painting has had on people. I often receive heartfelt messages from individuals expressing to me how the painting has helped them through a difficult season, or has helped to illustrate challenging and meaningful theology. The image has even found its way onto album covers, book covers, and countless church bulletins.
As a result, many have expressed a desire to have a reproduction of the painting available for sale. This is the first time I have attempted to produce and sell reproductions of any of my paintings. I hope that the final product is a blessing to you.
I delivered this table to my client’s office last week. It is good to finish a piece and be able to celebrate it. In spite of this I tend to experience a wide range of emotions and second guessing when I finish a job. One thing that never changes though is the gratitude I feel at the opportunity to be a woodworker, one who engages the authentic witness of the trees. They always have a real story to tell about our God and His majesty and faithfulness.
The School of the Transfer of Energy 