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.
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 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”.
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.