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THE BEAUTY OF THE IMPERFECT.
I have established parameters for the work I do by
trying to create beauty from materials
that would normally be discarded by more traditional woodworkers. Working this way I can focus my
designs on a limited selection of materials. Why do this? I suspect
that my backgound has much to do with it. My father was the
best "jerry rigger" around, which irritated me to no end when was young. Later, as an engineer who spent a lot of time in steel mills,
I learned that his job as a steel mill maintenance supervisor required that he make do with what he had available at the time in
order to keep the mill producing steel. This "make-do" attitude was reinforced in me later when I joined the Seabees during the Vietnam war.
The Seabees do Naval and Marine Corp construction in a battle zone. They are required more often than not to invent ways to do
the required construction from materials that are not normally used for that job. But they have a "can do" attitude. Simiarly with
these boxes, I enjoy the challenge of seeing what I can do with what nature has to offer.
To achieve this I must control my materials from
standing timber to the finished product. The materials I use cannot be
found at the local lumber yard. So to insure a continuing supply of
materials I must buy standing trees and supervise their cutting at the saw mill. I still remember the Amish miller asking that
first time if I was sure I wanted the log cut "this way" which was the exact opposite of the way he would normally cut. He would cut
to eliminate knots and bark inclusions but I wanted them. It took a while
to train" him in my way! Besides some of the best figured wood in a tree
is located around knots and bark inclusions. And looking carefully at the grain patterns around
a knot or cavity created by bark inclusions is much
like cloud watching. Like cloud watching the patterns jog our memory of familiar shapes. So many
different things of possible interest in the many features of the box -
both natural and man-made - if one is inclined to notice them.
You will notice a srong architectural influence in
my boxes. I am inspired by traditional Japanese farm house design and some
of the early house designs of Frank Lloyd Wright, who himself was
strongly influenced by Japanese design. The Japanese pagoda is he inspiration
for the stackable boxes and Wright's Robie house in Chicago is the inspiration
for my drawered boxes.
In the total box design, but especially in the lids, I
attempt to achieve a compatability - a
harmony, if you will - between what nature has to offer and my more formal design. Nature's offerings are
surrounded by the lines created by my shaping. This shaping creates sharp contour lines where curved and flat planes meet
and actually changes the direction of the grain itself when intersected by these planes. All this must be carefully
thought out and skillfully crafted to successfully attain the beauty of the imperfect.
John H. Burkey
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