The discovery of the life within the wood and the relationships they form is exciting to uncover. The early decisions are heavy. Every other act in the process is a response to these chalk marks as they try to hear and echo this walnut tree’s voice.
Underpinning Art with Discipline
The romance of the craft is backed up by countless hours of “mundane” work- the discipline that builds skill, and makes up the real life of labor. Days are spent creeping up on this scribed relationship and the foundational joinery. It’s a blessing to work, and to rest in the presence, at the same while striving towards the goal. Don’t mistake me, I’ve only had enough meager success at it to know it’s possible.
Technology – Joinery
One side of the natural edge was curving away on bottom edge so I had to cut a shallow rebate in order to have a solid joint as well as cleanly scribed edge. This edge was reinforced with dominoes. The opposing edge curved towards the bottom edge and could be cut square. For it I made a floating contoured spline from Baltic birch. Assembled dry all is tight and solid.
Visualize and Establish Form
Finding a way to visualize the elements in a design is an engaging challenge. Krenov spoke of “composing”, and I’ve adopted his method and language -clamping up and mocking up relationships as the process moves forward. I don’t recall if he used tape, but I recently switched from using blue tape to white tape to mask off shapes- the difference is remarkable.
Labor – Engaging Harvest
The last bit of joinery for the individual trestles is the horizontal rail completing the “H” form, which will eventually carry the longer rail that will join the two trestles together.
I’m grateful for this job, this material, this process. I heard a song that had a line which proclaimed “I am the record of His grace”.
Marketing my work has always been precarious territory for me. At a fundamental level, I am much more interested in making my work than trying to sell it. Philosophically and morally, I struggle with the slippery slope of salesmanship and authenticity. Authenticity as a word has already been pretty much trashed by our cultural trend towards filtered-authenticity in order to generate likes and sell products. I am certainly guilty of it, myself. Likes are addictive. But it all leaves me with a bitter taste in my mouth. It is hard to not feel like marketing breeds a certain level of dishonesty that we have decided to be ok with as a society.
Usually my work is both deeply personal and (I hope) deeply spiritual. I struggle often with the feeling that I am prostituting both myself and the things of God when I set out to peddle these visual representations in the marketplace. I don’t really have a satisfying resolution for this uncomfortable feeling, except for the opposing weight of the reactions of “my” audience, expressing a desire to share in these things.
I do want to sell my work and provide an income for my family and finance future projects. It is a part of life and a part of growing, of being fruitful. It is part of work, which is a divine invitation.
I have a calling to make art and what I hope are beautiful objects, and useful pieces of furniture. I have a calling to make that work accessible to the culture I am a part of. I want to try to do that in as straightforward a way as I know how. This new web store is an effort to do that.
You can get to the store by going to https://baumwerkshop.com, or you can select the menu of this sight and click on “Purchase Work“. I really do hope that you will visit and let me know what you think. I also really hope that you might purchase something, if you see something you like. There should be some exciting new things showing up there in the coming weeks.
Thank you, for supporting me and following along on this journey. God is good.
Is labor a sacrament? The invitation of the Eighth Day? A sacred collaboration with the living God? I can’t help but to note that the call to labor in the garden came before the curse of toil. I am certain that labor is about more than just earning my bread. There is something deeper there, not just for the artist, but for the ditch digger and the roofer, the farmer and the nurse. “Whatever you think, it’s more than that…” ISB.
I recently completed work on the handmade certificate of authenticity for Mule Resophonic Guitars, shipping him the first Batch this past week. I hope you enjoy the finished piece and a few photos of the printing process.
Usually the prints I make are deeply personal illustrations of my heart, vision and journey. From the early days printmaking has been, to me, a form of prayer, offering up to the Father layers of concern and expression of things I do not often fully comprehend. Within that context is a platform to explore the visualization of spiritual concepts, revelations and principles- basically a blundering effort to make the unseen seen on some level. I wonder that I am taken up with making a “graven image” and how that settles with the second commandment (Exodus 20 verse 4 if you are interested). Hopefully, what I am making are objects that are doors or windows that might lead one into worship, certainly they are far from worshipful in themselves. I take comfort that the Merciful One will ultimately be the judge of my heart on this one.
These images here, are a divergence in a way, in that, they are the mixture of my expression and visual language with the story and purpose of two other entities. The first of those is Matt Eich of Mule Resophonic Guitars. He has been building these beautifully crafted and, by all accounts, almost magically sounding guitars for five years now. The resulting print will be the certificate of authenticity that will be presented with every instrument that he sells. Matt is passionate about story and building rich relationships with his customers, and he invests personal expression into every instrument. His sense of story has been woven together with mine here, I hope.
On a technical level, I am always in an attempt to push myself past where I was before in my work. It may only be in a way that is visible to my own eye. With printmaking I compose a design and I wonder if I will be able to pull it off- if the level of detail will translate as a small mammal, or a vine, or a bird- or just a confused tangle of ink. Many times it has resulted in the confused tangle. This print for Matt has tons of this risk built into the design, and I think his spirit has elevated me, because I somehow feel a door has been unlocked. Of course, I really won’t know until the ink hits the paper- but there is hope that these tiny branches will be able to speak.
The second entity is the musical trio Sister Sinjin. My good friend Elizabeth Duffy is part of this group of women who sing devotedly to the glory and love of God. This image from this block will become the cover art for their upcoming record. The contemplative spirit of their music really seems to offer a counterpoint to the industrious detail of the print I’m making for Matt. I’ve noticed and appreciated the contrast as I have been working back and forth between these two blocks. The quite offering of the woman and the persistent labor of the plowman. Both have offered a lot of opportunity to grow and develop and express, and I am grateful. There are many photographs of the carving process below, which is still underway in both cases, though I am nearly done with the Sister Sinjin block.
My family and our work were humbled to be featured in the most recent edition of Plough Quarterly. There is a profile by Susannah Black, and a feature on Go On: Inner Man Version, an altarpiece I made back in 2003, and also an excerpt of my responses to some questions about our lifestyle, called Farming the Universe. If you choose to take the time to read some or all of them, I sincerely hope that you enjoy them.
The grisaille underpainting of Thomas and Jesus, et all is finally to a point where I feel ready to begin applying glazes of color. After 6 years of work I thought I should take some decent photos of the whole thing before the next phase. Thank you for watching.