Tag Archives: Ruskin

Rustic

7 Jul

Les and Ken retired carpenters both, volunteer their skills to Ruskin Land, a fabulous Oak forest belonging to the Guild of Saint George in the Wyre Valley.

Les was a saw doctor for Spear & Jackson in Sheffield. Time-served skills. I was really pleased when the dropped by to help me erect my sculpture ‘Mind’ in a quiet glade underneath the forest canopy. The young lads joining in are architects attending an exciting weekend of creative thought and action at Studio in the Woods.

Back in 2016 artist Mir Jansen said “Would it be possible to make a sculpture from a single tree?” And John Isles, of The Guild said “Why don’t you chose a tree from where we are thinning out the stand Henk?”

This is the piece as I originally envisioned it, in its own landscape not far from the tree from whence the materials came. Les and his team put it all together whilst I stepped back and enjoyed the chat.

It was quite an emotional experience for me, the realisation of a dream. In which I tried to reflect the spirit of John Ruskin and respond to Mir’s question:

“The highest reward for a person’s toil is not what they get for it, but what they become by it.” John Ruskin

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After the installation I went in to Bewdley for an excellent curry at The Rajah, and camped overnight to greet the dawn in a ridiculously small tent (foreground).

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At five am, one of the architects was up measuring shadows as part of his project and asked me if he could record an interview for a book he was thinking of writing.

As we strolled down to the glade, he asked me to talk about myself and describe the sculpture and it’s design.

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After ten minutes he switched the recorder off, looked inside the structure and said;

“I hope you don’t mind me saying, but it’s a bit …..”

“Rustic?” I interjected

“Yes, its a bit rough and ready”.

I explained that many of my best ideas for furniture came from a good dialogue with a client.  My imagination and skill flourishes best within tight boundaries, because my manic depression is no respecter of too much laissez faire.

My very best clients have demonstrated great humour, foresight, desire, trust and best of all, faith in me, like Mir Jansenn.

I added that because I felled the original tree and cut, steamed and shaped all the pieces by hand leaving tool, saw and jig marks – it was easy for anyone to understand. It was human. Although the thinking behind the design was a little more esoteric.

The architect then said “What you said in the last 90 seconds was really interesting, but I didn’t record it”

I thought about Ken and Les, and my father (a master carpenter) – all men of few words.

‘Aye lad’ I said.

 

We all like a bit of rustic. My wife does a great ploughman lunch. Bluegrass banjo makes my heart sing. I love Westerns, and I yearn for the simple life.

Rough and ready is the only way to survive in the Wild.

Don’t get me wrong, I do enjoy a sophisticated wine, or a finely made hat and I love the City of Sheffield, it is just that I am not a great fan of over complication.

Here’s to the ‘R’ in Ruskin and Rustic, for we are what we R, and we are at our most creative through dialogue.

To underline the point, here is a dialogue between a couple of trees in Eccleshall woods, Sheffield.

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With thanks to John Isles, Tim Selman, Jenny Robbins, Kate Quinton of Ruskin Land and Mir Jansen, of Holland. Also to John Amos who showed me the ‘R’ for ranger.

 

Curve

1 Jan

A catenary describes the curve adopted by a chain suspended from two points –  gravity acting uniformly along its length. I have been trying to suss out the right curvature for the top rail of a new four poster bed and playing with chains has helped.

Catenary

As you can see, the chain is slightly more curved in the middle than at the ends, like the steam bent lath of oak on top of it.

Catenary curves are important in architecture – particularly in bridge building – because of the way that they resist bending moments. Gaudi loved them so much, all the spires of his great cathedral, the Sagrada Familia in Barcelona, are based upon the catenary curve – here is his fantastic inverted string model complete with tiny sand bags… a spider’s web of catenary curves.

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View of Nativity Façade of Basilica and Expiatory Church of the Holy Family (Basílica i Temple Expiatori de la Sagrada Família) ( UNESCO World Heritage Site). Barcelona, Catalonia, Spain.

If you are curious there are many mathematical treatments of catenary curves and their analogies in nature (skeletons). You will find them everywhere if you care to look. The lovely ‘Winking Bridge’ across the Tyne in Gateshead, dogs on leads, electricity cables hanging from pylons…

Gateshead      Catenary curves

I would be the first to admit that I am no mathematician, but I do love symmetry in natural forms. The completed Ruskin Sculpture – Mir Jansen and I will be exhibiting at the Millennium Gallery, consists of a framework of steam bent, thin oak laths on a sturdy base attached to a circular annulus to make a light, airy framework. Within the framework hang a series of paintings by Mir in gouache on panels of oak all cut from the same tree. The paintings appear to float within the interior of the sculpture, each suspended on 3 or 4 powerful magnets.

The laths are identical to the one in the top picture.  They were bent over a hemispherical frame – the slight recoil on removing the dried piece 24 hours later yields a catenary curve  (rather like the opening curvature of the helix generated by the golden mean below). This gives the sculpture great stability and natural spring, and like the Earth, it is, as a result, an oblate spheroid.

Mir and Henk  IMG_4750

The globular gallery is designed with 37 steam bent ribs – a convenient opening at the front for people to step in to structure. I have always thought of it as John Ruskin’s Mind – ideas within leaking out, ideas without leaking in.

The design also allows disabled access as I have taken a bite out of the floor so that you can feel that you are right inside – even in a wheel chair, and sit comfortably too.

But why 37 ribs?

37 is a prime number in the Padovan sequence.

Padovan sequence

The equation for the Padovan Sequence is
 defined by the equation:
P(n) = P(n-2) + P(n-3)            also known as a recurrence relation where every subsequent number depends upon the numbers before it.
with the initial conditions P=(0) = P (1) = P (2) = 1
The first few Padovan numbers are :  1, 1, 1, 2, 2, 3, 4, 5, 7, 9, 12, 16, 21, 28, 37, 49, 65, 86, 114, 151, 200, 265  (the Prime numbers are in Bold)
Another recurrence relation with which you will be familiar is the Fibonacci Sequence:
Fn = Fn-1 + Fn-2
with the initial conditions – F0=0, F1=1
giving the series of numbers: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, … (The next number is found by adding up the two numbers before it). Without going into it in detail the formula which allows you to calculate the nth Fibonacci number relies on a special number called phi (1.618), or better know as the Golden Mean. Rectangles with sides 1:1.618 can be used to derive spirals, snail shells and so on.
fibonacci-plant  divine ratio (a sequence of golden rectangles – Yin and Yang)
The Golden Ratio…1.618 (approximately) lies at the heart of proportions of beauty in Greek Architecture.
Greek Architecture
John Ruskin certainly appreciated structure at a deep level, in fact he insisted upon the importance of underlying Natural Laws and Principles in architecture (The Seven Lamps of Architecture)  and it is no accident that the sculpture resonates with the maths. Mir’s paintings reflect other aspects of Ruskin’s thinking … come and see them at the Millennium Gallery from January 23rd 2016 when our piece will be on display as part of an exhibition on contemporary Art and Craft.
This is a chain of thought, I hope you enjoy the links. Happy New Year!
Acknowledgements:
The entire structure was made from a single oak tree – a very kind donation by the Guild of St. George from Ruskinland, through John Isles who supported our work and encouraged us. We were commissioned by Museums Sheffield and generously supported by Arts Council England.

Faith

28 Jun

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When I was four I was obsessed with the idea of Heaven and very interested in God. “How do you get to heaven?” I would ask my mother. “Is it by train, or by boat, or do you get to heaven by aeroplane?”. I took matters into my own hands one day with my mate, Alan when we drank bath water. In West Africa, where I grew up, this was forbidden, because it could be a sure fire way of contracting typhoid or any number of other deadly tropical diseases. I simply wanted to see how one got to Heaven.

My mother, as she recounted the incident, was at pains to put a stop to these early mystical experiments. When I asked her “Yes, but Mam WHERE is God?” she said to me: “Henkje (in Dutch ‘Little Henk) do you see your shadow on the ground?”

“Yes” I replied

“Pick it up” she said

Apparently, I bent down and tried to reach for my shadow…..”I can’t!”

“Well Henkje, God is like your shadow, He is there all the time, but you cannot pick him up or see him, He is just with you”

My mother in her infinite wisdom would happily engage me in these small philosophical discussions throughout my life sharing her rather impressive knowledge of the Bible (she was truly an Old Testament kind of girl), her understanding of other faiths and the origins of Christianity, Judaism and the teachings of the Prophet Mohammed (Peace and Blessings be upon his name).

In this Holy month of Ramadan my Muslim neighbours are fasting. In denying themselves food and drink during the hours of daylight according to their teachings they give space in their daily lives for spiritual contemplation. I perceive that it is in what we decide to eschew, that we become closer to our God as humans. There is a rich tradition of asceticism in many of the great faiths, where pilgrims, scholars and holy people deny the flesh in order to move closer to God.

I was asked recently by a young Muslim boy whether I believed in God. I answered him thus “Well, my young friend, no man is capable of knowing everything – therefore it is impossible to deny the existence of God based upon our limited knowledge. This position is called ‘Agnostic’, it is not a belief, rather it is a set of principles based upon logic. But, every human has to have faith in order to meet the challenges of the day. I respect your faith because it gives you Peace.” He seemed satisfied with my answer, I had shown him my shadow, without asking him to pick it up.

Speaking of large shadows, I am engaged at present in the making of a big sculpture for the Millennium Gallery in Sheffield. My collaborator Mir Jansen and I are planning to exhibit the commission in January 2016. I showed her the central piece of the sculpture ( a giant steam bent oaken bower) on Friday – it was the first time she had seen it for real. She had up until that time shown great faith in my design and my ability to deliver as a craftsman.

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Here then is a sneak preview of our exercise in faith. Both of us are investing all our creative resources into producing a piece of Art that can be seen, touched, entered, contemplated and enjoyed by all, for it is a celebration of John Ruskin’s mind. Made from a single oak tree from Ruskinland, Uncly’s Farm in the Wyre Valley, donated by the Ruskin Trust – the Guild of St. George, felled and worked by myself and painted by Mir Jansen.

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Mir is illuminating many oak panels from the tree in the manner of the Old Dutch Masters – who often painted directly onto wood – creating several narrative themes from the work, ideas and legacy of John Ruskin and the Victorian era he influenced. Her panels will be hung inside the sphere, supported by steam bent oaken beams – which currently hang in my studio like the ribs of some beached up wooden whale.

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Art and Craft are coming together supported by generous donations by the Arts Council and the Millennium Gallery and the Trustees of the Ruskin Foundation – if this is not an act of great faith, I don’t know what is.

It is also a meditation on a tree and a mind.

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Ruskin’s view of God was intimately bound up with his contemplation of Nature:

“there is no climate, no place, and scarcely an hour, in which nature does not exhibit colour which no mortal effort can imitate or approach.” His thought that no mortal can convey properly the effects of nature indicates that one must contemplate the higher workings of God in Nature.

In the words of the poet, Gerard Manley Hopkins (Ruskin’s contemporary):

God’ Grandeur

The world is charged with the grandeur of God.
    It will flame out, like shining from shook foil;
    It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
    And all is seared with trade; bleared, smeared with toil;
    And wears man’s smudge and shares man’s smell: the soil
Is bare now, nor can foot feel, being shod.
And for all this, nature is never spent;
    There lives the dearest freshness deep down things;
And though the last lights off the black West went
    Oh, morning, at the brown brink eastward, springs —
Because the Holy Ghost over the bent
    World broods with warm breast and with ah! bright wings.

Gerard Manley Hopkins: Poems and Prose (Penguin Classics, 1985)