THE PAST
During the eight years that I have been practicing the craft of hewing wooden bowls, I have continuously worked to refine my techniques and skills with the hopes of " making a better bowl." At first improvement came quickly, but through the years I had made most of the leaps and bounds and as my bowl total rose above 1000, areas for refinement became more difficult to identify. Still I was always searching ,but I was discovering that making a vessel from a single piece of wood and staying within the boundaries of traditional and functional was somewhat limiting.
I often felt I was standing still in the craft. But with my bowl total now above 1700, I am still being told my work is "improving". A testament that the drive is still alive.
In conjunction with this drive to master the technical aspects of the craft has been my desire to gain an understanding of its historical significance. Early on I found that although the making of woodenware or treen (made from the tree) is an ancient craft, relatively little has been published on the subject, especially North American treen.
But in 2005, while I was still focused on the general field of treen, I was made aware of a narrow branch within it identified as " burl treen." I was immediately attracted to it, finding a diversity of work that rekindled a waning passion; bowls-ladles-mortars/pestles and more, primitive to refined , hewn/ carved and turned, everyday to ceremonial use, Native American and Colonial. And finding that historical treen is found in many prominent museums and much sought after by private collectors told me of the respect it held. So much more than treen made from straight grained wood.
BURL TREEN ?
Burls, sometimes called burrs, warts, knots, or cancers are outgrowths on the side of a tree. It is said that they were more abundant in the original uncut forest. Today, eastern hardwood burl can be difficult to find, especially if searching for quantities in a particular species. With interwoven grain and sometimes, "eyes", Treen made from burl is more durable, less susceptible to splitting and more attractive than straight grained treen. Each piece has a unique personality.
As the Native American way of life was disrupted and the Colonial use of materials such as pewter, glass, porcelain, etc. became more common, burl treen fell out of manufacture. I see no reference to burl treen made later that the 19th Century and am not aware of any contemporaries making burl treen in the historical styles.
THE PRESENT
I am excited to have the unique opportunity to work in this narrow branch of this historical craft. I am approaching it with the upmost respect. I look forward to exploring the mystique of burl treen; that nearly all the individual makers are anonymous, the Spiritual significance of the use of burls by the Native Americans, and the very intriguing question of why such a high percentage of the surviving burl work is from one tree species, black ash. A species whose range of growth is limited and whose burl, today, are very difficult to find and quite expensive. After much searching I have located and purchased a considerable quantity of these elusive burl.
I am currently studying treen collections at two east coast museums and discussing reproduction rights with them. Although scattered, I am finding pieces available for study. This is very important to me. I want my work to be identifiable with the historical works in style and form. All surfaces are left dry with no finish applied.
THE FUTURE
By early 2007 my burl treen line will include: turned and hewn/ carved, Native American - Colonial. Predominantly black ash with limited cherry and maple. Please check back, this site will be up dated often as I make the transition from my functional hewn bowls to burl treen.
Thanks for your interest and please contact me if you have comments or questions. And keep an eye out for burl!
Michael
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