Crafting Emotion Through the Timeless Beauty of Wood
Artist Statement
Many woodworkers talk about working with the “soul” of a tree. What does that mean? For me, it means that I feel connected to trees and their wood, to their beauty and the mystery of living organisms, and I feel highly motivated to preserve a piece of that beauty rather than let it be lost to the fireplace, landfill, or even decay in its cycle of rebirth. That is why I have yet to cut down a living tree as source material for my carving. Rather, I use logs from trees removed by arborists, loggers, and landowners or that have been uprooted by storms or fallen down on their own accord.
Intuitive Beginnings
My sculpting begins with selecting logs whose external features, such as branches, crotches, cracks, and cavities, suggest an interesting interior. My first chainsaw cuts are chosen to expose that interior and begin the long process of shaping the sculpture and revealing the tree’s story. Many choices are made between tree features and a pleasing overall shape as viewed from all sides. I do not impose a predetermined shape on the log, but instead let the features of the log determine the shape.
Artist at Play
I use a chainsaw for the rough carving, shown here shaping the base of the locust sculpture called Mushroom. The top of the piece (to the right) has already been sanded and finished, getting the “feel” for how the base shape should be integrated with the top. Please take a look at the finished piece in the Gallery to see how the base is finished and judge the overall impression of the sculpture for your self. Note how the curved surfaces of the top and base and the different lines of wood grain lead your eye around the sculpture from all points of view.
Chainsaw Wheel Use
The next step in the shaping process is the use of a chainsaw wheel on a side grinder. This tool leaves a chisel-like surface that needs to be sanded and polished. This tool is very dangerous to use since it is rotating at 15,000 rpm and tends to pull into the wood as it cuts. I often complain about fatigue in both forearms, since most of the “work” is holding back the tool from carving right through the sculpture.
Pneumatic Tool Detail
A similar carving tool that I use is an 8-link chain wheel that I have adapted to use with a pneumatic die grinder. With this tool, I can carve (and rough sand) in tight spaces of his sculpture.
Sanding Process Steps
I use several sanding steps in a very time-consuming process to finish the sculptures. The first step is to use a random orbital sander to remove the rough carving marks, starting with 80 grit and stepping through 120, 150, and 220 grit paper. For tight inside curves, I use sanding pads that I make for a 3/8” electric drill with sanding diameters as small as ¼”. In the picture to the left, I am resanding the top of the mushroom in preparation for the final finishing.
