I won’t fill you in on the background of anything; I have to start sometime, and it might as well be now.
The box is coming along well, better this afternoon once I gave up for the time being trying to make A Thing to cut trunnels. I turned instead to getting the bottom finished: I am putting a low divider in towards the front of the box and cut the rebates and tenons on it this afternoon. The work went really smoothly and pleasurably; I love it when it happens like this. I would’ve kept going but I wanted to get in here (the library computer lab) before 7:00PM, and also home before dark.
I began today feeling pretty down and wanted only to sit in my room and read, so that’s what I did. Didn’t last long though, before I hauled myself out of there and down the hill to school — why on Earth should I feel guilty?! I was sorry I had come when I got here, but after retiring to the library to read The Unknown Craftsman for a couple of hours I started to remember what it was that I was so excited and happy about towards the end of last week: letting go and just flowing with the wood; being guided by what it wants to do.
[One comment] [Keywords: boxes, Making, Truth to Materials, woodwork] [Permanent link]
After many weeks of thinking, scheming and proposing I have at last settled upon this blog form, and so must begin. Have I anything to say? Not much, but this morning Yanagi (yet again) gave me something to think about, and I think it worth sharing.
“Crafts are of and for the great mass of people and are made in great quantity for daily life. Expensive fine crafts for the few are not of the true character of craftsmanship, which, being for everyman, are appropriately decorated with the patterns of everyman. It is natural that craft objects should be associated with patterns that are also, in a sense, communal.”
—p.117, The Unknown Craftsman, Soetsu Yanagi (1972), Japan.
If we didn’t have injection-moulding machines to make inexpensive chairs, we would still need chairs, and those chairs would in fact still be inexpensive compared to the alternatives — they would just be vastly different in character. It is this folkcraft that I wish to develop in my work; to make useful things quickly and without over preoccupation with the ‘fine’. A table will fulfill its purpose admirably whether its surface is smoothed a mirror polish or no — and if one wants to to be putting tea cups on its surface it will probably be better that it is not smoothed excessivly.
[No comments] [Keywords: art school, Reading, Soetsu Yanagi, The Unknown Craftsman, Woodworking] [Permanent link]