Love and Hate

Warburton knew I would never be a great designer. So he tried fundamental things with me—white space to balance designs and rule of thirds. Being he was an ecclesiastical carver, he was very concerned that I understand the traps you fall into when your block limits you to a constrained and stiff composition. There is no rule that he taught me that I have not broken on my own until I, finally, said, “that’s what he meant.” Well, at least I learned the lesson. It is the curse of the self-taught that our learning process is irregular. Good designers know when and how to bend and break the rules. I think that’s one of the things that makes great art and craft. The rest of us stumble until we get it right.

Kingfisher II

The photo I am showing here is one of my favorites, despite its apparent flaws. It was a practice piece that I liked. After it kicked around the shop for a couple of years, I decided to frame it. Being that it was an odd size, I made the frame from scrap around the shop.
The frame overwhelms the carving in color and size; and the piece ( being meant for practice) never was designed to have a proper border around it. Every time I look at the carving, I get reminded of how pleased I was with the effects of carving in cherry, and how much I liked the steam fishing vessel it represents. I also get irritated by the lack of compositional balance caused by the lack of space around the ship.
Because of the good and bad of the design, it’s a piece I love and hate.

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