Page 11 - Wood Review Dec 20

FEATURE
STUDENT – WINNER
Ceri Aldiss, Arch Base Table, American white ash, black walnut, 1200 x 450 x 450mm. ‘The brief was simple – a table with a curve and a drawer. My vision was to create a piece based on two highly contrasting forms. The kerf bent detail of the solid walnut base is left exposed to encourage discussion of process and add to the overall asthetic of the piece.’ School: The Centre for Fine Woodworking, Nelson NZ, Furniture Makers Program. Tutor: David Haig
Once again, beautiful professional photography, showed to best advantage Grant Vaughan’s excellent technical skill, combined with his equally rare and refined aesthetic sense.– Robert Howard
The simple geometric gesture of the curve intersecting the plane has been
very carefully resolved in detail and well executed. As a result the design is bold and innovative – a strong form like this is easy to become overbearing, but the resolution has been carefully resolved. The expression of the details such as the exposed kerf sawn technique, shopsawn veneer and dovetails speak to skill in execution while working to support, rather than overwhelm the design intent.– Adam Markowitz
A beautifully accomplished piece from its adventurous design to impressively resolved finish.– Bern Chandley
STUDENT – RUNNER-UP
Ollie O’Rourke, Formé Armchair. Inspired by 20th century Danish design, the Flow chair made by Sean Deane (one of his industrial design class predecessors) and, being a surfer, the flow of the ocean.
School: NBSC Freshwater Senior Campus,
Teacher: Ben Percy, Weaving: Modanest; Upholstery: Steal the Limelight
This chair is stood out by the sheer gumption
of what it set out to achieve. The technical
difficulty of achieving the two offset laminations
would have been extremely difficult, let alone
getting them to line up correctly for joinery and
comfort. Secondary details such as the floating of
the seat as well as the paper cord backrest show
that the chair design is not a one trick pony and there are a number of elements being considered. The design is evocative of precedents but not derivative, and so finds its own voice.
I’m only disappointed I couldn’t give it a sit test in person!
– Adam Markowitz
A boldly difficult design constructed with admirable verve.
– Bern Chandley
JUDGES’ TIPS
• The work that won in each category was generally offering a combination of skill, design, and having strong identity in the work. The most virtuoso piece of craftsmanship
did not necessarily win nor did the most adventurous/clever design – it was the pieces that blended both successfully.
– Adam Markowitz
Another attribute of the winning entries was that in design they were informed by the history and lineage of the craft in the conception of their pieces, but not shackled by it.
– Adam Markowitz
• I am not a fan of metal drawer runners (or kitchen door hinges) in competition work. If these must be used, then at least do what you can to make them invisible.
– Robert Howard
• There are two possible approaches to entering a furniture competition:
1. Use it as an opportunity to try something new. To push your skills and design concepts to the next level.
2. Use it as a showcase of what you know can do by building a piece you are already familiar with but take a more thorough, meticulous approach to achieve as refined a finish as you possibly can.
Either way can be seen as a chance to improve your skill set and expand your horizons as a woodworker.
– Bern Chandley