I am continuing to explore the question “can a birchbark piece be sophisticated?” This table exploits the beauty of bark that has the feel of top-grain leather. However, the design and the top are very modern.
An angular base showcases both sides of what birch bark can look like. The dowels securing the base are covered in dyed rawhide. With a sandblasted glass top thick enough to withstand hot drinks, this piece takes an age-old natural material and brings it into the 21st century. The top detaches for easier transport.
The natural rawhide and bark juxtapose with the glass top.
This box is made from a single piece of aged elk antler that has been sliced lengthwise, then hollowed out. The use of older elk antler allows for lines and cracks to show in the antler without reducing its strength and integrity. Because they come from a single piece, the top and bottom match so they fit together perfectly. The inside of the box is finished with beeswax giving it a honey-scented interior.
The exterior of the box is adorned with ivy vines and leaves. 31 leaves and numerous vines run the length of the top and along the front of the bottom. Vines from both halves overlap the other half disguising the separation of top and bottom. Care was taken to select antler of the same yellowish color for carving the leaves.
18cm W x 7cm D x 9cm H
7”W x 3”D x 3.5”H
I try to make most of my pieces as realistic as possible. Antler is ideal for this as it lends itself very well towards intricate detail. A few pieces have delved into the abstract realm and this is one of the most abstract that I have made.
Orchids, by their nature tend to have non-traditional flower shapes, so I decided to extend their unfamiliar shapes into more abstract ones to see where the forms ceased to resemble orchids. I used three orchid types–the traditional tube orchid, the Yellow Lady-Slipper and one called the Dragon’s Mouth. I started with realistic versions of each ( 3 tube orchids, 5 lady-slippers and 3 dragon mouths), then started playing with the shapes, getting more and more abstract until it ceased to be an orchid.
I also carved a bunch of leaves that were used to fill in the spaces and mounted the whole works onto a base of moose antler. Altogether, about 24 flowers are in the piece, but it depends on the viewer to decide how many of them are actually flowers and which are just shapes. The piece is very complicated, with leaves and petals hidden behind other leaves and petals, then roots and seed pods thrown in. What looks like an isolated leaf turns out to be a whole flower hiding in the shadows.
The multitude of shapes are carved from deer, moose and elk antler, as well as tagua nut. The shapes are mounted onto a moose antler platform, which is itself carved and shaped. The piece is displayed upon a poplar wood base.
24 cm L x 41 cm W x 36 cm H (9.5″L x 16.6″W x 14.5″H )
Reg, where do you get your ideas? This is one of the questions I get asked a lot. The others are:
- how long does it take to make that?
- how did you start doing this work?
- do I get a discount?
But, back to inspiration–it is easy to get the ideas as they are all around me. I live in a park, surrounded by the perfect images of nature. As a biologist by training, I find the snails and worms to be every bit as wonderful as the flowers. As well, I don’t limit my ideas to local nature and find inspiration from books, videos and talking to other people.
Consequently, I have pieces representing sea creatures, even though I live several thousand kilometers from the ocean. But, overall, the beauty and grace of the natural world provides most of my ideas.
I’m also not too proud to take a nugget of an idea from somewhere else and build upon it to make something new and unique–often with little in common from the original idea. I have two bonsai-inspired pieces, neither of which look like a traditional bonsai tree.
So, finding an image worthy of attempting to copy is the easy part. The difficult part is trying to make that copy within the limitations of my skill as a carver and the availability of the pieces of suitable antler. This brings me to another aspect of inspiration–the desire to make the piece the best possible–the work ethic. In this, I have two sources of inspiration, or models of work ethic.
First, the level of skill and dedication of traditional oriental artists. Whenever I am tempted to say, “ah, this is good enough!”, I think of the work I’ve seen in Japan, or a Chinese carving I’ve seen on the internet and realize that it can be made better, even if it means starting over. If you feel like saying that it is probably good enough–then it probably isn’t. I was recently working on an oriental dragon and had finished the scales over the two foot long body. I tried a modification of the scale carving and to mixed emotions, discovered that the new method was much better. It meant I had to redo the entire body, but the final result is much better and I am satisfied.
- The second source of my work ethic inspiration is my wife, best friend and partner Jamie and our son Justin. Both are perfectionists (darn!) and so I am somewhat driven to ensure that my work meets their standards. Not that this is a problem, quite the contrary, I like to make my work the best possible so that even if it sits on a counter in my basement, I can be satisfied that it is the best I can do.
One of the questions we are asked is “who inspires you?” People expect me to reference the work of great designers and furniture makers. However, it is the material itself that plays a large part in my philosophy.
When the Japanese architect, Kiyosi Seike, (1918-2005) said “I cannot help believing in the divine nature of a tree when I see that through some mysterious inspiration it has been enhanced and transformed into artistic expression”, he expressed my feelings about my work.
There are two people who continue to inspire me although neither of them are still with us–my parents. They have shaped both my creative thought and my work ethic. My mother and father adhered to 4 principles:
- For your life’s work, find something that makes you happy. You will have a more interesting life and you will succeed at it because you will practice, practice, practice!
- Whatever you choose to do, do it 100%. Sometimes a piece doesn’t quite turn out as well as I hoped. Instead of saying it’s good enough, I remake it. I burned the top of The Rubaiyat chess table and now I am satisfied with the new version.
- Respect yourself, others and Mother Earth. My parents treated everyone well, and being farmers (as were their parents) respecting the land was ingrained. I definitely respect the fact that it takes 50-125 years for my raw material to grow.
- Never quit learning. It’s a big, wonderful universe out there and learning anything keeps your mind sharp. My father never stopped reading about farming and current affairs and experimenting with new (to him) woodworking tools. My mother started sewing when she was 12 and was always trying to improve her sewing techniques. Asked to mentor Fashion Design students, she learned to use an industrial sewing machine at the age of 98.
The influence of my mother and father is reflected in my work. Their philosophy colored how I create.
We have an interconnectedness and interdependency on the natural world and items made of wood can represent and express that. Wood is a product of nature, something beyond humanity. The pieces I create could not be made of any other material. Trees are natural and supernatural. I truly believe a piece is incomplete unless shared.
Today we were in our community at Rossburn Elementary School. We built a stool (un tabouret) with each of the grade 5/6 French students. We chose this class as we are both trying to improve our French.
These projects involve a lot of time and extra help is always appreciated. Fortunately, the grade 7/8 French class volunteered to assist us. They played games (in French) with half the students while the other half assembled their stools.
The stools can also be used as a step-stool and were made from white spruce. White spruce (l’épicéa) is the official tree of the province of Manitoba. The top was textured both for interest and to provide a non-slip area.
It’s fun to work with students as they are always enthusiastic–even before they know they will receive a loot bag! The local office of Louisiana-Pacific provided us with tape measures, lip balm and balloons. Pencils were provided by the Riding Mountain Biosphere Reserve.
We had an enjoyable and productive day building a useful item, speaking French and having fun–just another great day in the Riding Mountain Biosphere Reserve where we live, work and play!
As we’ve mentioned before, we live in a very rural part of the prairies and get much of our inspiration from our surroundings. That conjures up images of deer grazing beside sparkling water and birds singing among the wildflowers, which is true. There are, however, other images and sensations that arise from experience.
Take for instance the bears that eat the Saskatoon berries from the bush outside our bedroom window (and bears are not quiet animals–they don’t have to be), or the bear, maybe the same one, who stuck its head right through the open window into the living room. A quiet pastoral scene is not what comes to mind. Now bears foraging in the area can be somewhat expected. After all, berries are nutritious and bears will and do eat anything. And to be honest, when the bear put its head in the window, we were cooking with the windows open. One could almost say we were asking for it.
And of course there are mice getting into the house and gophers eating all the tulip and crocus bulbs. The deer like tulips and crocuses as well, but apparently don’t like daffodils. However, after planting dozens of daffodils, we found that while the deer don’t like them, the gophers still do, so we no longer have daffodils, but do have well fed gophers. And while you can put a cage barrier around the shrubs and newly planted trees to stop deer grazing, the cages do not stop the 7 foot tall moose from grazing off the top 2-3 feet of your woody perennials.
Oh, and don’t try putting a cage around the berry bushes to stop the bears–they’ll knock that cage away without even putting in an effort. And they don’t stop a grazing on berries, they chew anything that catches their interest. Their teeth are very sharp and very strong and will go through the end of a kayak very easily. Canoes are also susceptible to animal damage. We had to repair the sides of our canoe a few years back when a beaver dropped an 8″ diameter poplar onto it!
Then there are the barn swallows that insist of building their mud nests against the speakers on our porch and on the interior walls of the shop or garage if we happened to leave the doors open. On reading up on what to do to deter them, I learned that barn swallows will continue building other nests all summer if they find suitable locations, even if they already have a nest. They are the strip mall moguls of the bird world–burning energy to build nests that they don’t use. How does such behaviour fit into a Darwinian model of survival of the fittest? The solution from the internet nature experts–stop fighting their nest building, sit back and enjoy them. Thanks for the advice.
And now that we are away from mammals and onto birds, every spring and summer, a magpie stakes a territory in our front yard. In some respects this is good because the magpie is quite territorial and keeps the other birds away from the Saskatoon bushes in the front yard (leaving them for the bear). The negative side to this situation is that the bird keeps attacking its reflection in our basement window, thinking this is a trespassing magpie. and throwing itself against the glass. This starts at sunrise (4:30 am in the summer) and lasts all day, interspersed with bouts of feeding. And being “bird-brained”, it never learns that the reflection isn’t a real bird. In fact, the more aggressive it gets, the more aggressive the reflection gets (naturally) and the more riled up the magpie gets. At least this bird problem has a solution–we put thick plastic over the windows so the bird cannot see its reflection. Now we only get the occasional bump when it attacks the usurper in the main floor windows.
But the incident that prompted me to write this entry happened just this spring. We covered our house in metal siding and metal roofing after seeing our neighbour’s wood-sided house with numerous holes from woodpeckers. To that end, the metal works excellently. Now, in the spring, the males of some species of woodpeckers attract potential mates and declare their territory by, naturally, drumming on trees using its beak. One enterprising male discovered, early one spring morning, that knocking its head against the metal of our roof makes an even bigger sound. And if the woodpecker thought it made a bigger sound outside, he should have heard the ruckus inside the house. It sounded like a jackhammer was being used. Now I’m all for live and let live, but it took a few wildly thrown rocks to get the bird off our roof and convince it that there were better places to go a-courtin’.
A trait that I have often used in my carving is the capture of movement. It is a difficult concept because, by its nature, if captured, the movement ceases. Consequently, I have to provide nuances and clues that direct the viewer to perceive movement where it doesn’t actually exist. One such clue is the use of curves.
This piece attempts to depict a beehive, but not in the traditional sense. It shows the movement of bees continually buzzing around a hive. Many of the trajectories intersect showing the interrelation of the sister bees in a hive.
The antithesis of relaxing, the movement is such that it should lead a viewer to think, “I know there is something I should be doing right now.”
The movement vectors are carved and hand polished from deer and elk antler. The support is chokecherry wood resting on a Manitoba Maple base.
41cm W x 29cm D x 61cm H
16″W x 11″D x 24″H
This piece started out as a 3D collage, a mix of individual organic shapes, each created in its own right, then amalgamated. However, as I was making the pieces with curves and bumps, I noticed that many of them were familiar. In hindsight, it should have been no surprise that my biological training and interests predisposed me to use shapes familiar to me as models for the abstract shapes. And if one is making abstract amorphous shapes, what better place to look then to the molluscs.
Molluscs, a group of animals having no bones, are basically bags of guts and muscle. They move by hydraulic and muscle motion. A familiar representative is the octopus, whose entire body functions like a bag of water, yet is able to effect the finest level of motor skill. Other examples are the snails, which can crawl along a razorblade edge and not be cut. Squids and cuttlefish are masters of disguise, able to transform the shape and color of individual skin cells. The bivalves, clams, mussels, scallops and oysters, are so well developed that they do not even need a head to function in their environment. Nauteloids, which look like an octopus hiding in a snail shell, were once the dominant life form in the oceans. And then we have the shells produced by these animals, in all their shapes and beauty. Each a mastery of mathematical curves and spirals.
I attempted to blend lifelike mulluscan shapes with abstract shapes to create a tableau providing a unified whole. Each segment was shaped and crafted so that it blended into the overall harmony. The diversity and unusualness of molluscs is such that it is often difficult to distinguish between the dozen or so molluscs and the abstract portions. The individual pieces are mounted on a piece of moose antler that it itself shaped to contribute to the overall effect.
Cornucopia is made from elk, deer and moose antler as well as some tagua nut. It is mounted on a base of polished Manitoba Maple with a natural edge.
35 cm W x 22 cm L x 35 cm H
13.5″W x 8.5″L x 13.5″H
Whether it’s an occasional table for your home or numerous wood furnishings and artwork for a new spa in Winnipeg, Manitoba, our pieces remain:
-unique in design
-singular in execution
These photos are from a dream commission. We were given the freedom to come up with the designs based on the company’s needs, wants and budget.
Thermëa by Nordik Spa-Nature officially opened January 15, 2015. Everything from the restaurant tables to the artwork in the changing rooms was made of local wood using local talent.
Honored to be given the chance to design and make over 100 pieces for the spa, we hope you enjoy our creations as much as you enjoy the spa!
Ever mindful of the 3 pillars of sustainable development, we created a built environment that is:
INAKA CUSTOM FURNITURE AND ART can help you achieve LEED credits and make your vision a reality.
Merci pour cette belle opportunité de mettre en valeur notre spa en démontrant les magnifiques œuvres que vous avez créées.