FOOTNOTES

 

Date stamp, usually on the underside of base.
(Now over 200 individual pieces of furniture and around 400 small boxes and other objects before that)

       
         New work, May 2017
     
  One corner of the Ruthin Craft Centre exhibition, 'as william morris said'. July-September 2014.
     

      

These two pieces were made in Roy Buckleys workshop, Auckland, New Zealand in 1998. The huge rough 'Tablets' of Elm featured smooth and polished recesses for sitting and serving fruit, nuts etc. According to Maori tradition it's considered rude to sit on a table used for serving and eating food and while no disrespect was intended this, together with the gift of the timber, was the initial inspiration.

     

  While this is another piece that fits within my ‘'Culverts'’ group of objects additional inspiration came from seeing a tiny stone object in the studio of Italian artist and designer Enzo Mari.
 
     

  A batch produced small-scale solid cast concrete object, not too heavy due to it being in two parts. There’s been little wider interest so I use them in the house and garden as display stands for plants and objects. 
     

  The first made and exhibited in 1993 this design was one of the early large objects I produced entirely from found wood. At the time most of the wood I used came from beachcombing and observers thought the shape referenced that environment whereas the actual inspiration came from one day visualising the void within a narrow twisting lane bordered by high hedges.
     

  This piece has a drop leaf for writing or laptop, a storage recess behind and twelve drawers. It’s made from reclaimed painted wood with all visible surfaces left as found. Some might baulk at the flaky and scratched surfaces since it is a fine line between interesting signs of life experience and indications of ugly abuse. I had planned a body of cabinetwork based around urban decay, renewal and material waste but was unable to secure Arts Council North West support.
     
 

Cycling in summer 2010 from Plymouth Hoe along the Plym valley I came across this graffiti covered bridge stanchion. Interesting though the graffiti was I took the picture with a view to planning a chest based on the concrete stanchion form.

     
  Making this kitchen sideboard for a beach house I used stainless steel boat fittings and sailing cord for all the door fittings.
     
  This screen was made entirely to client specifications but being familiar with the nature of my work they did request something I was happy to make.
     
 

Pradeep Sharma has kindly provided this shot showing part of the 2 by 2 exhibition at UNITEC, Auckland, New Zealand in 1998.

 

     
         Workshop, winter 2010
     
  Digital artwork by my ex-student and Exhibition Designer Michael Holden
     
  The Experimental Station, Dungeness.
In addition to Millness and Leasgill in Cumbria I've also made work here in Kent (first in 2003).

   

 

 

 

Fred Baier exhibition 'the right angle'  January 2012

     
  Chest-bench seat.  2.3 metres long. Found wood and Kauri. New Zealand 1998
     
 

Made in 2011, its original form is shown in SELECTED PROJECTS>COLOUR.
This is a 2012 re-working of all the main surfaces.

     
 

  Prototype based on a Scottish vernacular chair. Salvaged wood/Paint (new and old). Spring 2014
         
  My poor quality picture of furniture by New Zealander Humphrey Ikin. Much of it features sawn finished timber together with nailed or bolted assembly, yet all is exquisitely designed, crafted and functional.
     
  Tablet (detail) 2000 by Jim Partridge
Scorched Burr Oak
(In my personal collection)
     
 

Millennium Chest. Permanent collection Usher Gallery Lincoln England
In part inspired by the Usher's renowned collection of Clocks

     
  Foraging in Morecambe Bay during the high spring tides 2014
     
  Studio-workshop relocated in 2015 to Cookham Berkshire
     
    ‘From Japan’ exhibition opening @ Oxford Ceramics

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