Creating Abstract Form in Wood
All the wood I’ve collected for
carving over the last thirty-five years has been reclaimed, and the
great majority has come from the beaches near my home. Driving on the
beach isn’t without its hazards. The sand and salt are very abrasive and
corrosive on vehicles and chain saws. But the greatest risk is loosing
your truck when you hit a sinkhole and find the tires
sunk up to the axles with
the tide coming in and only a few feet and minutes away from washing the
vehicle down under the sand. I’ve had this exciting experience a couple
times and just in the nick of time saved my truck from the ocean’s
powerful forces. Personally these risks are outweighed by the prospect
of reclaiming a tree washed up on the beach before it deteriorates in a
few years. I load the myrtlewood log sections, weighing up to 3000
pounds each, onto my truck with an electric winch that roles along a
steel I-beam. I usually collect my year’s supply of carving materials
during the last three weeks of February. The rivers have flooded and
washed a fresh supply of trees out to the ocean and storms have driven
the logs up onto beaches.
explored free standing and wall sculpture as well as sculpted tables and
bowls throughout the last thirty-five years of carving wood. The
foremost element I’ve always kept in mind and the common ground shared by
all these expressions in wood is my attention to form and line. I
sculpt in myrtlewood that has washed up along the Pacific Northwest beaches.
The journey begins by reclaiming timbers between storms and after rivers
have flooded. Next, working intuitively I allow the form to evolve as
I carve. When a piece starts growing I grow with it, I have no
preconceptions…it is part of a stream. By working in this way each new
sculpture becomes an act of discovery. I find this intuitive approach
both challenging and rewarding because it requires complete focus on the
creative process unfolding at hand. The resulting artwork reveals
every step of this personal journey and leads to insights my intellect
wouldn’t visualize. Currently I finish surfaces with a concave shaped
chisel to emphasize movement and energy in the overall sculpture.
Instilling personal vision and exploring form is uppermost in my mind
throughout the transformation from reclaimed tree to finished carving.
I carve each sculpture by
chain saw while the wood is still in its green state. After
roughing out the form it is then kiln dried
for between three and five weeks, depending on its size and thickness.
When the sculpture is completely dried I refine the shapes with a die
grinder and finish its surfaces with a chisel.
The sculpture’s surface is coated with
a mixture of beeswax, boiled linseed oil, and polyurethane.
The result is a sculpture that looks and
feels like wood.