Fragmentation
I have been trying to use a technique known as fragmentation, involving tiny pieces of veneer. Cutting across the grain of the wood you can break strips into fragments which can then be packed into a space to create a sort of speckled effect. The idea really relates to traditional formal painting in the way it seems to be used- creating varying concentrations of colour and tone to a picture. Again with drawing this is about getting a material to do what typically a pencil can.
From what I have seen of it the most popular or common use of fragmentation is to create an effect of leaves in trees. Solving the problem of cutting individual leaves and allowing dyed veneers to be used alongside natural ones; fragmentation seems to be one of the more acceptable means of bringing unnatural colour to images.
I think there is potential for many things with this approach and I know that the methods are various and results wide ranging. Of the basic, general techniques of Marquetry this is one I am more intrigued by as it seems a lot more random than straight forward cutting. There is a little less control over the finished result, it is less precise, quite messy and strangely therapeutic. Slithering strands and breaking them up can take a long time, particularly getting the amount of fragments needed to make up a section. I think you can allow the mind to wander a little more whilst doing it. Also ramming the gritty little bits into a hole with lots of glue is enjoyable as is the anticipation of seeing the result.
It reminds me of pebble dashing, not something I’ve ever had the privilege of doing but it seems to have similarities on a different scale. Also as I seem to have various works and ideas underway at the moment the project itself is feeling pretty fragment.
Rummaging
Rummaging through a couple of boxes of veneers held by the Staffs Marquetry group I came across lots of lovely looking things. Veneers are fairly inconsistent and I imagine it can take a long time to understand how to approach their selection. Some are very thick and tough to cut, others wafer thin and frighteningly delicate. Getting the right veneer for the job and it being reasonably easy to work with can be difficult. Often the most interesting veneers visually are the burrs which are typically knotty and coarse and a challenge for even the most practiced cutter.
I photographed some of the things I came across as it is hard to think about the visual diversity of the material when it isn’t all in front of you. Some of the most attractive ones were very plain- hornbeam and horse chestnut; which are beautifully pure and white. I also like the fleshy pinkness of the pear. I wonder about connecting the association with a particular tree with what its timber actually looks like. Does the trees outer appearance correspond to what lies within?
Knowing what type of veneer each is can be pretty difficult and various library references can be referred to. This is very much like looking through a wooden deluxe catalogue which I quite like the idea of.
http://www.staffsmarq.freeserve.co.uk/misc/veneers.htm
Piles
Working in the countryside has a lot to do with piles (not the complaint, but of materials) Piles of things are constantly being moved from one place to another, gathered, bundled together, harvested, moved, mown, stacked, un-stacked, restacked, spread about.
Wood features prominently, there is something very satisfying about a neatly stacked wood pile, chunks and slices of timber ready to be used when the cold comes. Equally a ramshackle and disordered pile of wood has its appeal, bits of timber left over from a past construction, rotting logs and old window frames all thrown together and looking for a use.
My shards of left over veneer reminded me of this. Sitting in little piles they were too good to throw away looking like a snapshot of a miniature timber yard.
I was also reminded of the frequent and horrific sight at art school of piles of boards and off cuts strewn in and around the college skip; leftovers of art making and exhibiting. The aftermath of the 8×4 and the continual cycle of waste.
Folk Art
I've been thinking about this a bit as I came across this link http://www.tramp-art.com/folk_marquetry.htm . I'm not really sure whether there is a difference between Outsider art, folk art, tramp art or other definitions. I do think marquetry and this project have a relationship to it on several levels. Any amatuer craft could be deemed 'folk Art' I suppose although I wouldn't necessarily want to attach this label here. I do think a lack of artistic training can be used legitimately to differentiate artists but again that isn't that important really? How one approaches the craft and why is.
If a surge in craft movements was borne out of increasing Urbanisation and industrialisation this reaction is interesting. Artistic rules, academic traditions and aesthetics, would be progressing at an equally rapid rate, a rejection of which would automatically leave makers 'outside' of the progressive arts. A return to nature on the face of it denys the urban and the mechanisation of the industrial age.
There are inconsistencies though. Marquetry really draws on a global resource with materials originating from all over the world. Global development can be see to expand upon the craft with the introduction of all kinds of exotic materials for the artist to work with. In a way more than other art forms marquetry makes global connections in a way others don't. An accessible craft which potentially allows anyone the privilege of working with an enormous range of natural yet unfamiliar materials. I think this is worth thinking about.
Another thing that the lack of a formal training allows is more creative freedom. In understanding how those involved with marquetry work it is a lot of the time about the discovery of new techniques and methods. These can be shared and developed by others and I think it is this is what makes something like marquetry so interesting for those involved. There is a gentleman in the Staffordshire group who converted a sewing machine to cut veneer- a sort of concocted fret saw- this demonstrates wonderful creativity and invention which is what for me essentially defines so called 'folk Art'
Collection of woody vocabulary and a literary reference
Lots of wonderful words and phrases jump out of thinking around wood. I mentioned the veneer metaphor before but more than this many words connect to trees and wood in their origins. i’ll compile a little list…
Snedding, Barking, Snigged
Tug, Twigged, branching out, borker, janker, stumped,
Apparently Evelyn Waughs writing can be linked to marquetry, his interest in the craft being reflected in his intricately inlaid sub plots!
