A Favorite Bench

I hope you got a good rest in over the holiday weekend, I did. My health is returning, seems I had Mononucleosis (apologies if we made out recently). Though I’ve mostly been resting, it’s been a very busy and festive time. Bern Chandley is about to start his second class and we’ve been having a grand time, lots of table side chats and laughs. Of course, we’ve had plenty of chair chatter. You might be surprised to hear some of his views. Bern entered carpentry apprentice program when he was 16, which made a huge impact on his approach and mind set. He sees his work as utility objects, he doesn’t sign his chairs or add a makers mark. It makes sense when you note his practical approach to building and getting results.

Bern’s #14 Chair

Of course, I think Bern’s chairs are more than just utilitarian, but I appreciate the way he grounds himself in the craft and focuses on the basic function of his chairs.

I’m not very interested in the craft/art conversations, I try to take things at face value and give everything a chance to imprint on me. Of course, there’s lot of peripheral information that can seep in. For instance, if it’s on the side of the road versus a gallery. I was at the Museum of Fine Arts in Boston the other day (more on that later), which is home to lots of wonderful objects. I looked at the seating on display (some of which you are allowed to sit on) and noticed my reaction to each one. Much of my response included imagining the story behind an object being created and then chosen to be in the museum. I think this is a common response to an exclusive environment. Sometimes it’s a distraction. But at the museum, there is one small bench that quiets my inner monologue. Every time I visit, I make a pilgrimage to a dark corner in the Asian Art wing to see it.

It was made by David Ebner out of Purpleheart in 1983.

Of course, photos won’t do it justice, but I hope you can see the beauty in the subtle lines and carving. It’s just three pieces of wood, but it has so much going on to explore. You don’t make a piece like this without a very refined sense of proportion and awareness of the interplay of shapes.

Many makers, including myself, often leave tool marks on the surface, which shows the maker’s presence and intent. All the surfaces on this bench are worked smooth, the clear lines and careful decision making do the talking. It’s a masterclass in quiet impactful design. Yes, I’m swooning. If you go to the MFA, search it out, there are two of them on the first floor of the Asian wing near the staircase. When I look at this piece, I’m grateful the museum exists to display and protect it.

We’ve been making progress on the barn project, which I’ve mostly seen through my house windows. Here is a tour of the current state of things.

It’s been excruciating not being able to work on it myself, but Mono is insidious and I’ve already relapsed a couple of times. This next week will be very eventful and hopefully put us on pace for a February 10th class, it’ll be a big task, but I’m gonna try.

Here are a couple of shots of my last barn project, circa 2004. We had about 60 people help raise it that day, definitely a life highlight.

I had a bit more energy back then, and no money for contractors!

I’m looking forward to the new class in 2025, I’ll be posting some more in a week or so.