Today's blog post is a group of inspirational places, first North Bennet Street School, an amazing place that has been teaching the highest quality of craft skills since 1885
Another inspirational place is North House Folk School, I am hugely impressed by their work. See the website here
In Sweden the national folk craft school at Sateglantan is a very special almost magical place, I have spent time there three times including teaching two courses there, if you ever get the chance to go don't miss it. website
and last one not craft related but another educational video which I find inspirational.
Wednesday, 31 October 2012
Saturday, 27 October 2012
"Whatever people say I am, that's what I am not"
Whilst I was busy building my replica bronze age boat in the spring I heard of a very interesting conference at the British Museum.
Good title and the full details with the call for papers sounded right up my street. It takes place at the BM on 1st and 2nd November.
The conference flyer said "academic approaches to craft are often far removed from the practical knowledge and embodied practice of craft and skill in ancient societies, and biases towards ‘head’ over ‘hands’ need to be critically evaluated and acknowledged in the study of craft production."
Yes I thought, perfect for a paper from a working craftsman having spent 16 years making replicas of medieval artifacts and 3 months replicating one of the most technologically advanced surviving bronze age artifacts.
I pitched my abstract using the title "Whatever people say I am, that's what I am not" but sadly was not accepted, they had 120 submissions for 40 or so slots but I feel it is rather sad they did not find a single place for a working craftsperson. To me this is symptomatic of a society which does not recognise that craftspeople are intelligent and capable of engaging with, even contributing to serious academic debate.
I was rather looking forward to engaging, I would have opened with the title "Whatever people say I am, that's what I am not"and asked who recognised it. I doubt if many folk at the conference would yet it is the title of the UKs fastest ever selling album, the debut album of the Arctic Monkeys. There is nothing wrong with folk not being up to date with knowledge outside their particular field but I would argue that the world of craft is as distant, complex and hard to understand for an archaeological academic as the world of pop music. How frustrating to see so many folk discussing craft from so many different angles without a single craftsperson present.
In the world of archaeology it is common for academics to dabble in craft, to undertake a few small reconstructions and write about their experiences. I would suggest this can give good insights, as working for a day or two with archaeologists gives me an insight into their world. We the craftspeople however have an incredibly deep knowledge of our work, the materials and techniques and how they respond. This is based on thousands of repetitions each of which is a learning experience. The craftsperson is an intelligent problem solver bringing all this knowledge to each new challenge each day. There is knowledge and intelligence in our hands and our heads we simply choose to express it three dimensionally and seemingly in today's society that is not yet as easily recognised as words, we need to change that.
Craft and People
Agents of Skilled Labour in the Archaeological Record
Good title and the full details with the call for papers sounded right up my street. It takes place at the BM on 1st and 2nd November.
The conference flyer said "academic approaches to craft are often far removed from the practical knowledge and embodied practice of craft and skill in ancient societies, and biases towards ‘head’ over ‘hands’ need to be critically evaluated and acknowledged in the study of craft production."
Yes I thought, perfect for a paper from a working craftsman having spent 16 years making replicas of medieval artifacts and 3 months replicating one of the most technologically advanced surviving bronze age artifacts.
I pitched my abstract using the title "Whatever people say I am, that's what I am not" but sadly was not accepted, they had 120 submissions for 40 or so slots but I feel it is rather sad they did not find a single place for a working craftsperson. To me this is symptomatic of a society which does not recognise that craftspeople are intelligent and capable of engaging with, even contributing to serious academic debate.
I was rather looking forward to engaging, I would have opened with the title "Whatever people say I am, that's what I am not"and asked who recognised it. I doubt if many folk at the conference would yet it is the title of the UKs fastest ever selling album, the debut album of the Arctic Monkeys. There is nothing wrong with folk not being up to date with knowledge outside their particular field but I would argue that the world of craft is as distant, complex and hard to understand for an archaeological academic as the world of pop music. How frustrating to see so many folk discussing craft from so many different angles without a single craftsperson present.
In the world of archaeology it is common for academics to dabble in craft, to undertake a few small reconstructions and write about their experiences. I would suggest this can give good insights, as working for a day or two with archaeologists gives me an insight into their world. We the craftspeople however have an incredibly deep knowledge of our work, the materials and techniques and how they respond. This is based on thousands of repetitions each of which is a learning experience. The craftsperson is an intelligent problem solver bringing all this knowledge to each new challenge each day. There is knowledge and intelligence in our hands and our heads we simply choose to express it three dimensionally and seemingly in today's society that is not yet as easily recognised as words, we need to change that.
Tuesday, 23 October 2012
art
As a working craftsman people often tell me I am an artist, or at least that I make works of art. Here is my latest artwork, more about it later.
I have mixed feelings about being called an artist. To me there is a big difference, the main purpose of craft is function, it could and should be beautiful as well and so I would argue that making good functional craft objects is far harder than making good sculpture which only has to look good. The main purpose of art however is the message it carries, as Duschamp showed it doesn't have to be hard to make. The message can be an attempt to capture the essence of the subject in figurative work or it can be an attempt to create an emotional response or pose questions or generate thought in the viewer, whatever, art has a different purpose to craft.
Now the difficulty is that for the last 40 years or so craft in most of the developed West has been categorised, and promoted within the arts. This means that it is judged by art standards and the "best" that makes it through to the magazines, shows, galleries and museums will satisfy the art standards of the day. That means it will be innovative, new, cutting edge and absolutely definitely not functional. I am a fan of Turner prize winner Grayson Perry's writing on the subject of art and craft, if you want more Grayson this hour long interview is good.
Now there are subjects that I feel passionate about and I feel I can best address these subjects through making functional work that people enjoy using every day, that is perhaps more meaningful to me and them than a passing experience in an art gallery. I do also enjoy art galleries though and being a bit of a media tart I will basically put my message out anywhere that I feel it will get a fair viewing.
In 2007 the turning centre in Philadelphia, probably the most important centre for wood art, called for entries for the next show "dysFUNctional" items that commented on or lampooned function but also with a fun element. I had shown in their previous 3 major international shows since 1998 so wanted to put something in, my "piece" was a video installation involving 1000 of my waste cores
The jurors liked it
"Two works frame this exhibit. British artist Robin Wood is a master of functional turning if ever there was one. However, his video installation reveals the mounds of dysfunctionality inherent to his production. Wood states that for years archaeologists uncovered such piles in forests before they realized that these were discards from pole turners who worked close to their sources of wood, leaving their shavings and waste materials behind. Wood's work creates the piles in a domestic location, and repeats the historic rhythm, mass, and recycling questions that linger through the ages."
So this year the centre has a fundraiser running in which my waste cores have been sent out to around 50 of the worlds best woodworkers and transformed. The results are remarkable and you can see the online exhibition here
Which brings me back to my artwork at the top. I am not happy calling my bowls art because their prime purpose is function, this core however is art. It's prime function is to contain a message, that message is a personal one to the art collector that buys it, I rather hope that it goes to someone that enjoys the ethos of my work.
I have mixed feelings about being called an artist. To me there is a big difference, the main purpose of craft is function, it could and should be beautiful as well and so I would argue that making good functional craft objects is far harder than making good sculpture which only has to look good. The main purpose of art however is the message it carries, as Duschamp showed it doesn't have to be hard to make. The message can be an attempt to capture the essence of the subject in figurative work or it can be an attempt to create an emotional response or pose questions or generate thought in the viewer, whatever, art has a different purpose to craft.
Now the difficulty is that for the last 40 years or so craft in most of the developed West has been categorised, and promoted within the arts. This means that it is judged by art standards and the "best" that makes it through to the magazines, shows, galleries and museums will satisfy the art standards of the day. That means it will be innovative, new, cutting edge and absolutely definitely not functional. I am a fan of Turner prize winner Grayson Perry's writing on the subject of art and craft, if you want more Grayson this hour long interview is good.
Now there are subjects that I feel passionate about and I feel I can best address these subjects through making functional work that people enjoy using every day, that is perhaps more meaningful to me and them than a passing experience in an art gallery. I do also enjoy art galleries though and being a bit of a media tart I will basically put my message out anywhere that I feel it will get a fair viewing.
In 2007 the turning centre in Philadelphia, probably the most important centre for wood art, called for entries for the next show "dysFUNctional" items that commented on or lampooned function but also with a fun element. I had shown in their previous 3 major international shows since 1998 so wanted to put something in, my "piece" was a video installation involving 1000 of my waste cores
The jurors liked it
"Two works frame this exhibit. British artist Robin Wood is a master of functional turning if ever there was one. However, his video installation reveals the mounds of dysfunctionality inherent to his production. Wood states that for years archaeologists uncovered such piles in forests before they realized that these were discards from pole turners who worked close to their sources of wood, leaving their shavings and waste materials behind. Wood's work creates the piles in a domestic location, and repeats the historic rhythm, mass, and recycling questions that linger through the ages."
So this year the centre has a fundraiser running in which my waste cores have been sent out to around 50 of the worlds best woodworkers and transformed. The results are remarkable and you can see the online exhibition here
Which brings me back to my artwork at the top. I am not happy calling my bowls art because their prime purpose is function, this core however is art. It's prime function is to contain a message, that message is a personal one to the art collector that buys it, I rather hope that it goes to someone that enjoys the ethos of my work.
Monday, 22 October 2012
personal philosophy
A few bits of personal philosophy, feel free to share if you like them.
like my facebook page if you'd like more of this
Friday, 12 October 2012
any fool can make something more complex but it takes real genius to make things simple again
A new film from Artisan Media hope you like it
see me turning in London next week "wizardry in wood"
The worshipful company of turners of London have their roots in the 13th century and a fabntastic recorded history. Many of the wooden bowls which I admire that have been found in excavations in London will have been turned by early members of the guild. In it's modern form the company still supports the craft of turning and this year they are arranging a celebration of the art of turning with 20 of the country's top turners. Also on display will be a historical backdrop of turned items from the Mary Rose and from excavations in London. I am thrilled to have been invited not only to show my work but also to set up my lathe and turn some bowls.
The show is called Wizardry in Wood and the website is here
I am doing a few turning demonstrations each day Wednesday to Saturday.
I also have a range of new work on display in particular silver rimmed mazers and quaichs, and copies of bowls from the Mary Rose.
The show is called Wizardry in Wood and the website is here
I am doing a few turning demonstrations each day Wednesday to Saturday.
I also have a range of new work on display in particular silver rimmed mazers and quaichs, and copies of bowls from the Mary Rose.
Monday, 8 October 2012
Wooden bowl on Paul Martin's BBC Handmade Revolution
Paul Martin's Handmade Revolution went out today on BBC 2 if you missed it this link to iplayer will work for a week or so (UK only I am afraid) and starts at 28 minutes in on the section with Paul learning to turn a bowl.
http://www.bbc.co.uk/i/b01nd2h2/?t=27m41s
It was a great days filming and we all had a lot of fun. This was the start of the day crew setting up.
Paul really got stuck in, he is a really nice guy.
This is what it looks like from the other side of the lens, camera man and soundman right in your face but after a while you just forget they are there. They are a fun team and everyone is working together to show the craft off as well as they can.
Paul pausing as he nears the end of the outside of his bowl, it is hard work.
and with his finished bowl and spoon.
If anyone is inspired to learn I have bowl carving courses and spoon carving courses coming up in the next few weeks with some places still available. Come and join me in one of the most beautiful parts of Derbyshire for three days of hand woodwork and go home with bowls or spoons and new skills. Details here
http://www.bbc.co.uk/i/b01nd2h2/?t=27m41s
It was a great days filming and we all had a lot of fun. This was the start of the day crew setting up.
Friday, 5 October 2012
a busy week and on TV next week
This week has largely been devoted to making just one mazer bowl. It's a very special commission and I can't publish details until after it is finished and given to it's new owner but it has used my skills understanding of materials and techniques to the limit, hard work but fun. The prototype and the final rim can be seen to the left in this photo as I am turning the outside.
Turned round now and I am turning the foot. With these mazers I turn them green and then dry them because I like a little movement. This means I have to guess how much they will shrink and turn them that much bigger than the rim. It's more art than science and pretty difficult but pleasing when it works well. I am really excited to see this mazer finished it is going to be something really very special.
I have had an assistant this week for the first time. Anna Casserley came to help me make a new set of bowlmates ready for a bowlcarving course 24-26 October, still places left if you would like to join us. The original set of bowlmates were made 30 months ago and have lived outdoors so are getting past their best, I'll try to keep these new ones under cover.
And finally I just heard from the BBC that the new Paul Martin program Handmade Revolution will be screening next week and my episode is Monday 3.45pm.
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