Page 6 - Wood Review Dec 20

FEATURE
JUDGE’S TIPS
• Most obviously, as this is a competition judged from photographs, having the best photos possible gives the best possible chance. Grant Vaughan and David Haig both had work professionally photographed, and the difference shows. If that is deemed too expensive, look around for a friend who is competent,
or try to bring yourself up to speed via YouTube how-to videos, etc. Whatever you do, don’t torpedo your chances by not giving the photography the attention it requires. And also, photograph strategically: the best angles, obviously; but also any detail that might help the judges best appreciate every important aspect of your work. – Robert Howard
• Photography is critical – we could only judge the work by the photos rather
than in person. In that context, having
bad photography is like having gappy dovetails or a sloppy mitre. Having good photography immediately raised the quality of the work in our eyes. Avoid busy backdrops, draped bedsheets. Carefully consider what other objects to have in
the photos; often a few carefully placed objects (such as books or a nice ceramic) can give context and scale and improve the reading of the image (but can be overdone or distracting if done poorly!).
Think very carefully about angles, about what you are communicating in each
shot, and about whether your photos have captured the key story of your piece. If there are two photos that show essentially the same thing, get rid of one, and show something else. If you are a professional, you should consider paying to have your work professionally shot – photography is a skill and attempting to do it yourself is often doing your work a disservice.
– Adam Markowitz
BOWLS & BOXES – RUNNER-UP
Amichai Lankri, Kolenu Shabbat Candlesticks, Lebanese cedar and Huon pine. A reimagining of Shabbat (Sabbath) candles and a gift to Kolenu, my local congregation here in Melbourne. Named after a song sung to welcome the Shabbat, with the lyrics ’above the sound of many waters, our voices will rise up!’
A really lovely piece with great use of both form and negative space. The symbolic use of Huon pine and Lebanese cedar is thoughtful and appropriate as well as aesthetically harmonious, adding to the narrative rather than distracting from it. Beautiful lip detail. – Laura McCusker
An innovative interpretation of a vessel and a ritual object, the piece uses narrative to inform the shape and selection of timber species, which gives a depth to the object beyond the visual elegance. The tension between curvature and hard line is quite carefully resolved, and fine details such as the spout have been well considered. – Adam Markowitz
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Australian Wood Review