WELCOME

From my small workshop in the hill country of Southern Indiana I would like to
introduce you to my new work in,

BURL TREEN

Specializing in

BLACK ASH BURL TREEN

I have two purposes for this site. One is to provide, from a craftsman’s view, a very general discussion on historic Native American and Colonial wooden ware [treen or treenware] and the unique branch within it that is considered by many to be the pinnacle of wooden ware, burl treen.

I will briefly describe some of the similarities and differences in the burl treen that was produced and used by these 2 distinctly different cultures, during the time when the way of life of one of the cultures was being lost and the other was rapidly evolving.

The second purpose is to introduce my new work, which is inspired by these old traditions. And to give those interested the opportunity to personally enjoy the continuing beauty, style, and mystique of black ash burl treen.

Visit the 'Treen Discussion' section for 'Definitions', 'References' and 'Treen History'. View a Gallery of my 'Historical' and 'Current' work where many of the pieces are available for purchase. In the 'My Work's section you will learn of my motivation and experiences in the 10 years that I have devoted to making woodenware. Please, feel free to 'Contact' me with any questions and comments.

For the many that are not familiar with the term, a brief description as I use it, would be: [For a more in –depth discussion click “DEFINITIONS”]

TREEN:
An old English word meaning “made from the tree.” In this discussion and my work, “wooden ware used for table service, food preparation, and related objects.”

BURL:
Abnormal growths that sometimes form on the trunks and branches of trees.

BURL TREEN
Treen or wooden ware made from burls.

BLACK ASH [Fraxinus nigra]
The predominate species of burl used in North America for burl treen.

For the past two years I have devoted myself to the study of burl treen, Native American and Colonial -Early American, from the time of European contact until it fell out of manufacture in the early to mid 1800’s. I have found no references to anyone working with burl in the historical styles after that period.

My study has not been from the collector, dealer, or academic view. Each has their own interest and expertise and they are the makeup of our understanding of burl treen. I respect each. But I have studied from the view that is missing for a more complete understanding of the subject, the one that has been missing since the time of burl treen. That of the craftsman/artisan, from whose hand, mind, and expression the pieces were created.

Early on in my study, I realized that burl treen is one of the very few remaining historical crafts not being pursued by contemporary craftsmen. I have approached this unique opportunity with patience [at times], passion, caution, and the deepest respect.

The challenge to reintroduce burl treen in the old tradition has been much more than I anticipated. The historical craftsmen left only their works, no patterns, how to books, or explanations.

Therefore, I have studied what I feel are five major elements that were common to, and had the greatest influence on, the manufacture of burl treen, Native American or Colonial.

The times or periods
The now anonymous craftsmen worked within the boundaries set by the styles and forms in vogue at the time and the traditions of their culture.

The tools
The tools they used to produce their treen were from two different ages, ranging from fire and stone to water or human powered lathes.

The material
They chose to work with a material that is an abnormality of nature, a material with characteristics and properties which needed to be closely studied and clearly understood to be used successfully.

The purpose
Burl treen was utilitarian, made to function, to serve a purpose, objects of human utility.

Personal skill level and expression
The skills of the craftsman ranged from rudimentary to masters of their craft. Expression ranged from of little concern to that from deep spiritual motivation.

The manner in which the individual craftsmen of the time chose to stay well within or push the limits of these elements gives us the variety of work we see in historical burl treen.

Working only to meet the needs of their time, they unintentionally left us art[ifacts] that combine the hand of the craftsman with the essence of one of natures truly beautiful and fascinating materials. Art[ifacts] we treasure far beyond their original intention.

[For a more in-depth discussion click “MY WORK”]

Being completely self taught, I come to this branch of treen with 10 years experience at making nearly 2000 “straight- grained” hewn bowls. Perhaps more than anyone else has ever made. This experience was essential as I made the transition to hewn Native American style burl bowls.

During the past 2 years I have intensify studied wood turning and the techniques required to produce burl treen in the historical Colonial styles.

And after initially trying to, and failing at, controlling the burls, I have learned to work with the burl by understanding its properties.