Injections
I was shown this piece of veneer by Quentin who founded and belongs to the Staffordshire group. It is thoroughly garish, acid orange and electric blue with flashes of purple and yellow. I think it had been acquired from someone in the U.S or Canada and is an example of a timber injected with dye. Anyway he thought it worth showing me and I am glad he did.
I am aware of the use of dyed veneers and even manmade ones but this was something I hadn't heard of. Effectively injecting a tree with a colour whilst it is still living the dye is carried through the wood to create a unique effect once the tree is felled. Like the xylem tests in high school science, charting dye sucked through a celery stalk this is same thing on a grand scale.
I'm not sure what the veneer is but the effect is certainly distinct. I like the idea of it, not knowing how the colour will carry on the inside of the tree and the result being unpredictable. Like an experiment in process painting the end product is a surprise result in itself. Thinking about painting again here this is an example of the material quite literally being painted into before even being used in any form of marquetry.
The readymade nature of this piece also is worth mentioning. With a distinctive grain and the blue of water or sky it almost feels inevitable that it should be used as part of a landscape of some sort. Perhaps there is such demand that veneer is produced with an endpoint like this in mind. Whatever its use I would hate for the grotesqueness of the piece to be lost as it is so striking an example of a human intervention in to nature. In fact the whole idea of how the veneer is coloured makes it a highly challenging material to begin thinking about using.
Painting
I am attempting to use veneer in an intuitive way with one of my pieces of work. Creating an image from the existing patterns within the veneer the process feels closer to the way I am more used to making art. Also I am feeling the parallels between painting a lot more working in this way, letting the picture emerge from the veneer. I think this reflects a distinct division between picture making and painting, and maybe artist and craftsman?
I saw something within this particular veneer immediately and translating the information of the grain seemed to be a very natural process. It is like a series of sums and in a way exactly like painting. Removing areas, retaining others the choices with the veneer are the same as with paint itself. Working in an abstract way I feel more emphasises the quality of the wood and seems to get to the heart of it.
Most pictorial marquetry seems to attempt to expose the natural beauty of wood but it is precisely these complex parings with other veneers that cause the aesthetic value of a lot of work to be questioned. Although you can identify sections of veneer in pictures the pieces are often sitting alongside many other pieces, almost lost and out of context. Veneers are incredibly distinct and complicated in their appearance, in a way so perfect individually that I feel this should be exploited more within their use in art.
The piece I am using as the starting point is threaded with lines and veins. It looks like a dense forest, a throbbing mass of arteries which are disordered, out of control, almost flowing. Retaining this was my motivation and I hope it will work out………
Crafting
Central to the project is the consideration of Marquetry as a craft. No one can have avoided the renaissance of knitting over the last few years and concurrent interest in ‘crafting'. Not only as an art form but the activity itself, crafting is hip? A number of cultural and social factors can be seen to be responsible for driving this trend in ‘making' that not only affects artists but all sorts of people in many different ways.
I have a lot of research to do work on in regard to this side of the project. Earlier in the year a conference held at the University of Dundee addressed craft research in its varying guises. Socially engaged craft, craftivism, the ethnographic slant and industrial processes; all important and relevant stuff.
Does Marquetry relate to a particular gender? I'd say it is a practice dominated more by males and traditionally furniture and cabinet making would have been a male dominated profession. In the resurgence of craft we experience now is this influenced by gender? I'm not sure this is important or that I am that interested in the issue but I do generally associate woodworking with men I think.
Unlike knitting Marquetry can't be done at the bus stop and neither can many other crafts. I think there is too large a gap between how craft is being redefined. From the activist, make do and mend attitude to the design approach- meticulous detail of the highest quality. Discovering what ‘craft' can actually mean today is essential.
I think it is easy for craftsmen to get hung up on the definitions of Art and Craft as they as terms have come to be viewed in opposition. Looking at how the two overlap and even if they are distinct from one another could prove positive, even put an end to a debate that has really run out of steam.
A Picture
I am continuing to find new ways to work with veneer, usually by accident, so find myself beginning new work before finishing other things. A slip of the scalpel yesterday produced some lovely strands which coiled and twisted with the run of the grain.
A wooden drawing of a see-saw.
With Pictures in mind, a visit to the tip
I went to the local tip yesterday. There were at least four skips designated for timber, mdf, chipboard and all things wooden. I was reminded of my piles of timber and will be making efforts to produce some work based around this. I have been working away from the conventional use of marquetry in terms of picture making but not purposely avoiding it. Obviously subject is important and balancing this with the material is delicate. I have specifically mentioned drawing in the project title so this remains essential. As I progress, the material itself is undoubtedly the subject; outside of this too it is wood in its different forms which will feature in any representational work.
On my journey home I also took note of the long line of wooden fencing separating various suburban gardens. Each a little different in shade and size and slotted into concrete supports, these flimsy panels reminded me of the veneers I have been handling.
