2022-09-01 Australian Wood Review

PROJECT 13 14 15 16 The sides of the boxes are sanded contrasting colour to match the keys, 8. Apply glue to the mitre keys and smooth now, as is the top edge and base. and also chose to blacken some. There slip them into the corner slots. are many ways to colour wood black Lids and pulls with store bought stains, or your own 9. You can also use a handsaw to custom brewed ebonising mix made cut slots for the mitre keys. The lids here are solid wood with a from black tea, vinegar and steel small rebate to enable them to seal wool. I just used a black felt pen with 10. I used blackwood veneer for the box (photo 14). The rebate was very good results (photo 16). mitre keys in the Huon pine made on the router table, taking boxes. small passes until the desired size The lid and box can now be final is reached. Each lid was hand fitted polished. In this case a hardwax oil 11. A batch of assembled box sides with a shoulder plane to its box. with a final buff of carnauba based set aside to dry. wax gave a smooth surface that wasn’t The pulls are small pieces of dowel too shiny. 12. Flush cut saws can be used to glued into the lid (photo 15). I used level the mitre keys, however Miller dowels for these as they are a Photos: Raf Nathan a Japanese saw worked well. stepped dowel. You can make your Illustration: Graham Sands own handles of course with dowel, 13. The 5mm thick solid wood twigs, a custom carving, or even a Raf Nathan is a wood designer bases were glued on and later small brass knob. maker who lives near Brisbane. trimmed back. I tried to have my pulls in a 14. The lids were rebated on the router table and holes drilled to receive small pulls. 15. Each lid was hand fitted with a shoulder plane to its matching box. 16. Contrasting woods were used for the pulls, and some were also coloured black with a marking pen. www.woodreview.com.au 51

Syncopation in Wood What happens when an engineering patternmaker uses wood as a medium for creating art? We asked Paul Kay how it came to be. Story by Linda Nathan. P aul Kay has been an engineering During his patternmaking career, the wooden and aluminium tooling used patternmaker for 50 years, as well range of forms Paul has made, mostly to produce sand casting blocks for as a model maker, furniture maker, from dimensioned drawings in various the welding of train and crane rails. miniature confectionery tooling drafted views, was stratospheric. Wooden and epoxy resin master sculptor and woodcarver. Recently Common in the mix were wooden patterns were made for pantographing however, Paul has created a body patterns for the foundry industry, steel tooling, which in turn produced of work for his second exhibition, and industrial models for industrial injection moulded plastic items. The Rhythm and Hues – Syncopation in designers. He made innumerable reach of the patternmaker’s art was Wood, organised with art gallery wooden master patterns for vacuum once enormous, however its praise director Frances Keevil. forming plastic sheet, as well as has been largely unsung. 52 Australian Wood Review

TECHNIQUE 1 2 Notably from 1985, Paul produced are a very enjoyable part of my career’, Main: Paul Kay in his Sydney studio/ miniature master patterns for the said Paul. ‘When carving tiny details workshop. Photo: Paul Kay confectionery industry worldwide, mainly into the confectionery master pattern for jellies, jubes and marshmallows, I use very small chisels or gouges. 1. Together (2021), 570 x though rarely for chocolates. Once he Finishing is done with small riffler 310 x 56mm, Malaysian even sculpted a range of dog biscuits files and abrasive papers. I carve into jelutong, acrylic paints, clear that resembled dog characters! Plastibond filler bonded onto a harder polyurethane. polyurethane base. Moulding tapers Photo: Paul Worsley ‘The miniature confectionery tooling ensure that the shape will effectively master sculptures have been and still extract during the moulding process. 2. An in-progress view of Together. Depths are determined from a full scale sketch of the design transferred to the surface of a single piece of jelutong. Photo: Paul Kay www.woodreview.com.au 53

TECHNIQUE 4 3 5 It’s tough on chisel edges. I have made about 5000 different shapes over 37 years.’ 3. ‘Miniature confectionery tooling master sculptures have been, Paul’s father was also an engineering patternmaker and still are, a very enjoyable part and his grandfather was a carpenter. ‘There must of my career.’ Photo: Paul Kay be a bit of wood dust flowing in the blood’, he said. ‘My apprenticeship commenced in 1971 at Ultimo 4. Community (2021), 355 x 307 TAFE, Sydney, one day a week for three years, x 50mm, Malaysian jelutong, followed by another year in the workplace. Back acrylic paints, sealed with then there were two classes of twelve apprentices clear polyurethane. Photo: Paul each. Afterwards it was a long slow learning curve Worsley based on experience and making mistakes either dimensionally or with technique.’ 5. Using Forstner bits to rough out the different levels of Alongside his work, Paul’s interest in art developed Community. Photo: Paul Kay as he worked on sculptures and attended life drawing classes. He enjoys visiting galleries and 54 Australian Wood Review reading about art, and he is inspired by early to mid-20th century modernist painters like Ben Nicholson, Paul Klee, Joan Miró, Picasso and Frank Hinder. He also cites influence from sculptors such as Archipenko, Calder, David Smith, Moore, Lipchitz and Hepworth, as well as those from ancient civilisations. ‘The shapes that I create derive from my studies in art, from my working background, from my interaction with friends and society, and from my observations in humanity’, said Paul. ‘Social media, fashion trends and the digital revolution are a constant influence in determining opinions. The edges, surfaces and shadows reflect a conscious development in my designs. My colour palette is a melange of my personality, influences from reading art books, the response to personal emotional experiences and the humanity that one experiences in everyday life here and abroad.’ Paul’s artworks start as small sketches followed by full size dimensioned versions. The plywood radius templates he uses (from R25mm to R15,000)

TECHNIQUE 6 7 were handmade over decades of engineering 8 patternmaking production. 6. One of Paul Kay’s more figurative For each sculpture, a timber block is prepared onto sculptures, 2001. Photo: Paul Kay which the full size drawing is pencilled on the top surface. Wood grain direction is taken into account 7. Still (2021), jelutong, acrylic and and depths are then determined. polyurethane paints. ‘Reductive techniques require conviction Machining is done in stages on an end-milling and thought, and the use of machine using high speed steel end-milling cutters colour is essential for portraying and roughing out is done with Forstner bits. Most emotions.’ Photo: Paul Worsley curves are finished by hand using crank gouges, while tight internal vertical corners are finished 8. Still, in-progress. Machining is by hand with chisels. Abrasive papers produce the done in stages on an end-milling surface he requires. ‘It is a nerve-racking process, machine using high speed steel with decisions requiring conviction and thought. I cutters. Photo: Paul Kay prefer using a reductive technique commencing from the deepest level’, he explained. www.woodreview.com.au 55 Questioned on the use of colour, Paul commented: ‘There will be detractors and admirers of adding colour to timber but artists have done it historically. In my sculptural reliefs the masking-off process for each colour can be extremely time consuming, but the excitement of revealing their collaborated appearance in-situ can’t be underestimated. For me, the colours are essential in portraying an emotion onto the form’. And the title? Was there a musical connection? ‘Artist and long-time friend Hadyn Wilson and I came up with it based upon a musical motif. Music is definitely a part of me. My father played piano in a small jazz group when he was young, and all genres of music interest me. It’s great for the soul.’ Rhythm and Hues – Syncopation in Wood showed at Studio W in Wooloomooloo, Sydney from June 1–19, 2022. For more information see www.franceskeevil.com.au Learn more about Paul Kay at www.kayco.com.au

TOOLS & EQUIPMENT Troubleshooting Bandsaws How to diagnose problems and get the best results from one of your most useful machines. Story by David Luckensmeyer. 56 Australian Wood Review

TOOLS & EQUIPMENT 2 13 B andsaws are one of the most fails, the saw is usually not worth buying or Main: While my Felder versatile machines in the shop. So keeping (photo 1). FB540 has been a it’s worth taking time to troubleshoot workhorse, it is my any problems, especially if yours does not Disassemble the main components of the privilege to be the perform like it should. Whether you’re machine to isolate the motor: remove the caretaker of a Wadkin undertaking restoration work, or tweaking blade and drive belt/s, and if direct drive, DR36 from the 1940s. At and calibrating a new machine, there’s consider removing the lower wheel. The 2.6m tall and weighing something here for everyone. motor should run quietly and smoothly. For over 1000kg, this is a safety, disconnect the machine from power rare and special machine. I often field questions like, ‘Which after running. Partially restored now, it bandsaw should I buy?’ or ‘What’s best was in poor shape when I for resawing?’ Invariably I recommend Before putting the belt/s back on, grab bought it. purchasing used. Older bandsaws are each wheel with both hands and give it generally heavier and better built machines a proper tug (static check), and spin by 1. Welded frames (left) for the same money. But you also need hand (dynamic check). Look for side-to- versus cast-iron to know the anatomy of a saw, how to side movement and listen for bearing noise bandsaws (right) are diagnose issues, and the general setup for (e.g., grating, clicking). The wheels should essentially different fine work. rotate for quite some time, and come to a with the cast- complete stop. A momentary reversal of iron variety being Eliminating vibration direction indicates a wheel balance issue inherently superior. (photo 2). Cast-iron is stiffer, Vibration is an enemy of smooth cutting takes higher tension and there are potential sources that need to Let’s assume at this stage that your loads, and dampens be identified: frame, motor, bearings and machine runs with little to no vibration. vibration. wheel balance. Wheel alignment and wheel 2. If the motor and lower Examine the entire machine carefully. rubber wheel run smoothly, Casting damage and welding cracks mean there is no need to the saw will not tension a blade which will The upper and lower wheels must align in disassemble further. flutter and wander. If a visual inspection the same plane or the blade will not track The belt and rubber on my Felder are still in good shape after 17 years of heavy use. 3. The rims of the wheels should touch the straightedge. The blade should not be installed for this calibration check. www.woodreview.com.au 57

TOOLS & EQUIPMENT 4 5 4. Most European bandsaws are Italian, even the rebadged ones. This Felder is made by ACM and painted a different colour. Note the position of the blade’s teeth just off the front edge. 5. The adjustment knob is located on the back and tilts the upper wheel one way or the other. The diagram reminds the operator which way to turn the knob to obtain the desired effect. 6. This picture shows a blade about to run off the front of the upper wheel. By consulting the diagram (previous picture), we can see that the adjustment knob needs to be turned clockwise. Continue rotating the wheels by hand while turning the knob until the blade stays where you want it. 7. To measure the blade length, first adjust the upper wheel in the middle of the available travel. Then take a piece of string or rope and ‘install’ it around both wheels and mark the place where it overlaps. Lay the string out on the floor and use a tape measure to obtain the blade length required. 67 properly. The best way to check for alignment is to chunks need replacement. Chris Vesper in Melbourne place a straightedge directly against the top and offers this service. Very few do, as the wheels must bottom wheel rims. be rebalanced perfectly before use. For less serious degradation, the rubber can be sanded smooth. But I If the machine chassis and cast-iron table are in the won’t get into that here. way, take a piece of plywood and straighten one edge on a slider or with a track saw. Notch the edge to Blade tensioning and tracking accommodate the impeding parts of the machine. In general, only the upper wheel is adjustable and those The upper wheel is mounted on an arbor which is adjustments are machine specific (photo 3). adjustable vertically (blade tension) and for tilt (blade tracking). The adjustments are usually via knobs or American-made bandsaws and Chinese clones handwheels (photo 5). usually (but not always) have slightly rounded or domed tyres. The dome is designed to help centre Before installing a blade, back off all guides (above a bandsaw blade and allow for teeth set. European and below table) so that nothing impedes the bandsaws have flat tyres. Such wheels are designed to tracking adjustments. Tracking can change as the run a blade’s teeth off the front edge of the wheels to blade is tensioned. allow for teeth set (photo 4). Apply moderate to full tension on the blade. By Tyres with deep grooves, undulations, or missing ‘moderate’ I mean enough so that the blade does not exhibit much deflection when pushed from the side. 58 Australian Wood Review

TOOLS & EQUIPMENT 89 Most machines also have some way to register 8. The calibration for the tensioning level but in my experience it square is usually serves as a relative guide only. Slowly rotate dialled in using the wheels by hand and watch for lateral blade the additional movement (towards the front or back of the support under wheel; photo 6). the inside edge of the table (see I like to rotate the wheels up to a dozen times also photo 13 by hand to satisfy myself that the blade is below). Tables tracking properly. Turn on and immediately with a locking turn off the machine as a final check that the lever instead of a blade is running true. nut are far easier to adjust to a set While blade choice is often the last topic to 10 angle and then be addressed, my instructions relating to the return to 90°. trunnion, table and guides, require a properly Unfortunately, the trunnions on most fitted blade. Check the blade weld. There bandsaws are weak. Make sure the table bolts/ 9. The calibration should be no clicking sounds through the blade nuts are tight and any adjustment for tilt is adjustment on guides, and no visual movement between the working adequately. Some tables are not flat this solid steel back of the blade and the thrust bearing. I find and have twist and hollows (or both). If there’s Wadkin guidepost inexpensive carbon blades are fine for most a problem, it is possible to install a sub-table is as classy as curved and joint work. with appropriate shims. But let’s assume your it gets with its table is reasonably flat. adjustable brass However, a more discerning choice is plate. Note that warranted for resaw work. My favourite Calibrating your table for square means many bandsaws resawing blade is the Woodmaster CT 1.3TPI you can trust your bandsaw for precise cuts. have a second set made by Lenox. It is cheaper and cuts faster Remember, checking the results of a cut is of guides directly than the premium Lenox Trimaster, which is always more accurate than checking the blade under the table. a carbide band. I have extensive experience itself. For left-to-right table adjustments using both to resaw Australian hardwoods and for square, the trunnions and table support 10. A piece of paper exotics. Some of my colleagues also report good (if present) can be tweaked. Front-to-back can be used to results with the Laguna Resaw King (photo 7). ‘squareness’ is harder to dial in and involves adjust the thrust inserting shims between the trunnion bearing, but I just Trunnion and table attachment points and the underside of the look between the cast-iron table (photo 8). bearing and the Table checks can only be accomplished once back of the blade the other calibration processes above have for the barest hint been completed. Otherwise, you’ll be doing of daylight. Note them again. how the side-to- side guides are positioned back from the teeth set and blade gullets. Otherwise both blade and guides will suffer damage. www.woodreview.com.au 59

TOOLS & EQUIPMENT Guidepost and guides The guidepost carries a thrust bearing that provides support at the back of the blade, and ‘guides’ on the left and on the right of the blade. It consists of a vertical ‘arm’ or ‘post’ that can be adjusted up and down depending on the thickness of timber being cut. Cheaper, modern saws have flimsy posts that do not remain calibrated when moved. Look for machines with robust guideposts that have the ability to be aligned in all directions. Calibrating the guidepost is machine specific but 11 typically there is a locking lever for vertical adjustment. Machine plates usually ‘rub’ against the vertical guidepost with adjustment slots and bolts/screws for alignment. Aim for a perfect vertical alignment with a tensioned blade (photo 9). The support at the back of the blade can be a thrust bearing, a hardened metal disc, an edge-oriented bearing, or a ceramic block. Best practice calibration is to adjust the support as close to the back of the blade as possible but not touching (photo 10). Side supports likewise come in many varieties. 12 European machines usually have two facing bearings that are typically good at supporting larger blades from I do not find a mitre gauge necessary on a bandsaw. twist. Carter style bearing guides are popular and For breaking down long boards into shorter lengths, I reasonably easy to adjust. Lenox style ceramic blocks just cut by eye and move on. For shoulders and other are also generally well received. Even hardwood timber joint work, a dialled in fence works very well. blocks will do just fine. Take care to adjust the guides equally so there is no lateral deflection of the blade. Dust extraction Again, close but not touching (photo 11). Most bandsaws have below-table dust extraction Rip fence, mitre gauge and drift ports, and sometimes two. Such extraction collects the larger chips carried downward in the blade Drift is a minor problem which has been overblown as kerf and keeps the lower wheel housing clean. A an opportunity to upsell fancy (and often expensive) compressed airgun is handy for clearing away any aftermarket fences and mitre gauges. I would suggest larger chips that escape above-table (photo 13). spending your money on a better blade. The generation of fine dust is more concerning and Significant drift – the tendency for a blade to wander bandsaws spew plenty of it. Anyone who spends an consistently one way or the other – indicates a setup hour resawing hardwoods into shop-sawn veneers will problem: under-tensioned blade, mis-aligned wheels, attest to that. blade damage or even just a bad blade with uneven teeth set. Minor drift is common. To determine drift direction, take some scrap with at least one straight side, mark a line parallel to the straight side, and make a partial cut (say 100mm) along that marked line. Take special care to follow the line exactly. Leave the blade in the just-cut kerf and turn off the machine. Now bring the fence alongside the scrap and adjust so that the fence is parallel with the straight side of the scrap (photo 12). 60 Australian Wood Review

TOOLS & EQUIPMENT 13 14 I’ve tried a number of solutions but nothing works 11. Seriously, don’t waste your better in my experience than above-table dust money on whatever fancy extraction and I would encourage you to implement guides you’ve just read such a system on your machine. It does not have to be about. None is able to turn a fancy. I use large rare-earth button magnets to keep crappy bandsaw into a resaw the flex in place (photo 14). This solution is, well, virtuoso. Good resawing is ‘flexible’ when adjusting the guidepost! all about a rigid machine and a good blade. My vintage Last words Wadkin DR36 resaws just fine with no guides at all. This story has been about troubleshooting. I didn’t I’ve tried, although it is not explore resawing techniques nor how to get the most recommended! out of your machine. For those topics, I strongly recommend the advice of my colleagues Darren 12. Most fences have simple Oates (AWR#64) and Damion Fauser (AWR#98). adjustment screws. Those that do not require the Some of you may hold fears about buying ‘old and fence attachment rail to be rusty’. I certainly did. But a bandsaw is one of the best shimmed where it bolts to machines to take the plunge because the anatomy and the table. Failing that, the setup are simple. And the rewards of ‘old steel’ are entire table can be loosened worth the extra time and effort. Have fun and be safe! on the trunnions and rotated slightly for drift. Photos: David Luckensmeyer 13. While checking your below- David Luckensmeyer is a Brisbane based table extraction, make woodworker and furniture maker, see www. sure the cleaning brush is luckensmeyer.com.au and Instagram @luckensmeyer present and well-adjusted to remove debris that can lodge between wheel and blade. This picture shows the threaded rod and nut which allows the table to hold calibration at 90°. 14. The large button magnets are placed inside the flex and attach to the upper guidepost and upper machine chassis. Works a treat. www.woodreview.com.au 61

DESIGN Topping it Off Box lids that combine different woods and materials, 1 as well as methods of construction, can set your work apart. Story by Andrew Potocnik. Check my garage and you’ll find Why make box forms? The boxes or lidded containers I columns of empty cardboard make are rarely for a purpose, but boxes stacked inside and on top How does this relate to the boxes I as an exploration of form; hence I of each other. I can’t let an empty make? I’m not sure, but I am intrigued like to experiment with shapes and box pass me by without wondering by the thought of what is inside a box. materials used for finials. I also like whether I should put it aside for the Sometimes its outside shape tells you to use contrasting coloured timbers day when it will come in handy. I something about the contents, at other so that each element stands out; suppose it’s the result of growing up times it’s pictorial or written information however, it still needs to meld with the son of WWII refugees who never on the outside, but most often there’s an accompanying elements. Another let anything go to waste. There’s element of mystery as to what you’ll find thing that attracts me to boxes is that nothing wrong with that, but there once the lid is lifted. I have a book titled I can create interesting pieces and is a limit to how many things you 400 Boxes: The Fine Art of Containment only use a small amount of wood, so can save. and Concealment, which I think that off-cuts can be put to use. summarises where my intrigue lies. 62 Australian Wood Review

DESIGN 1. Small off-cuts can be put to good use in lids, as for the author’s Osage Orange Box. 2. The lid of the Burl Cap Box rests on a lower rim which highlights the natural edge of the bowl. 3. The author’s Fluted Jarrah Box has a tenon inside the collar which creates a border. 2 Balancing angles different angles, a form of balance the burl edge becomes the key feature was reached as they were perched on and the lid acts purely to support Sometimes a piece of wood catches the side of an ancient redgum dome, the organic bamboo finial as it rises my eye and I can see a shape just like a fascinator hat you might above the box. alongside its profile. This was the case see at the horse races. with my Fascinator Box where the The Fluted Jarrah and Mountain Ash endgrain in a log section of hairy oak Edges seen and unseen Boxes have lids with tenons that fit just demanded a closed round form inside a collar and add solid borders be used to highlight the prominent Drop-in lids, like the one used in to burl wood – these contrast not radiating medullary ray. A quick the Fascinator Box can be varied to just in structure, but in colour as sketch on the log with a piece of chalk suit the needs of each project. Four well. The same concept has been and the wood was left on my bench of the boxes shown make use of the applied to each lid, where an insert for the idea to evolve further. same basic idea, but vary in how they of contrasting timber is then capped are applied. The Burl Cap Box has a with a finial or handle; one organic, Over a few days I decided the lid lid that rests on a rim just below the the other turned. needed to slope down towards its natural edge of the container itself, so centre, something quite different to my aesthetic for lid shapes, however 3 the finial concept only developed when a pair of off-cuts from another project caught my attention. Two half-circle pieces had been waiting for the right project to come along, and here it was, even though it broke many of my self imposed rules on successful design and visual balance. The leopardwood ‘ears’ were off-centre and sloping across the lid, but by testing a few www.woodreview.com.au 63

DESIGN 4 Contrasts add highlights Once all radiating lines were cut inside of the lid. Why show off only on the face and edges, the surface half the wood? This lid is a suction, or Contrasts in colour and texture are was wire brushed to remove frayed ‘pop-fit’, lid just like that of the Osage key features of the Maple Box, which fibres and a spirit stain then applied. Orange Box. By turning a tenon that also has a drop-in lid held in place To ‘soften’ the solid black colour, a pushes firmly into a rebate, friction by the handle on top of the textured couple of shades of grey paint were that holds it in place makes a ‘pop’ upper section. The lid features blister- mixed and sparingly dappled on with when the two are separated. patterned maple, while the handle a sea sponge. Sometimes too much is plain maple sawn to highlight its contrast can be overpowering. By extending the tenon on the Osage growth rings without competing for Orange Box, I was able to incorporate attention with the blister pattern. Pop-fit lids the resulting gap into the overall When viewed from above, the textured design, highlighting the edges of border frames this pattern, and could To add a feature to the Huon Pine both the top and bottom of the box. work well as a sculptural wall piece. Box shown below, I added an insert You can see by the size of my hand This section was made from redgum, of highly figured Huon burl, which is that this box is only about 50mm textured with a diamond shaped burr glued into a hole that allows the burl in diameter, and was turned from a held in a micro-motor. to be seen from both the outside and 5 64 Australian Wood Review

DESIGN 6 branch that was too good to not use. new project. For a completed piece 4. Drop-in Maple Box Normally I wouldn’t make the base to work visually, you need to consider with contrasting as tall as this one, but as I began the entire form and then break down textured redgum lid. removing unwanted wood, I realised components that will meld together that a tall base would suit this piece, to make the piece balanced and 5. The Huon Pine Box lifting it up from a display surface, complete. And who knows, maybe lid has an insert of adding to the overall feeling of an there will come a day when I make a highly figured Huon Asian temple. box that I’ll be put in when I go! burl that allows the burl to be seen from How do ideas evolve? Photos: Andrew Potocnik both sides. As far as ideas go, sometimes it’s Andrew Potocnik is a wood artist 6. The highly featured the wood that guides the form, and and woodwork teacher who lives Mountain Ash Box sometimes it is a form that I’ve seen in Melbourne. Learn more at has a contrasting in my mind’s eye that has lodged itself www.andrewpotocnik.com inset collar and lid. in my ‘cranial computer’ waiting for the right moment to be applied to a 7. Fascinator Box, hairy oak. ‘The endgrain demanded a closed round form to highlight the prominent medullary ray.’ 7 www.woodreview.com.au 65

EXHIBITIONS Sequence Hugh McCarthy’s new work marks an expansion of his cabinet and furniture making practice into the realm of sculpture. Interview by Linda Nathan. 66 Australian Wood Review

EXHIBITIONS S equence is the title of a debut sculptural solo show by occur between units within a singular object. I took Melbourne furniture designer maker Hugh McCarthy the opportunity to ask Hugh about the nature and new which ran in Sydney in May, 2022. Eleven columns of direction of this work. irregularly shaped and stacked units made a dramatic statement in a gallery context. As a collection, these Up to now we’ve seen your custom fitouts and furniture? vertical ‘sequences’ create a family of objects which are in Why the new direction? What was your inspiration? dialogue with each other, as well as the surrounding space. This was an opportunity to take what I know and like Sequences of curves, angles and voids highlighted by about woodwork, and approach the creation of 3D objects variations in joinery and wood grain were an opportunity in a different manner. Unlike furniture, where you work for Hugh to explore the tensions and harmonies that to a brief and design pieces that are practical and user www.woodreview.com.au 67

EXHIBITIONS friendly, there is a kind of freedom to improvise with workshop. I plan on staying there again soon. I’m sculpture which compelled me to make these objects. In inspired by the incredible precision and attention making this exhibition I took a lot of inspiration from art to detail demonstrated in Japanese carpentry and and design history but also from all the wonderful ways woodcraft. If there is one thing I’ve learnt from Japan, of joining wood together. Sculpting is something I will it’s to eliminate details that are going to look bad in continue to explore alongside my furniture business. one year’s time. Their kind of restraint and simplicity is something that resonates with me. What’s your background as a woodworker, or have you had another career? What does working at large scale bring to your designs? I have been running my own furniture design and The larger scale makes the designs interactive and activates manufacturing business for over ten years. Prior to that I the space. Placing these human sized pieces throughout a learnt many of the practical skills I know on the job with gallery transforms them from a static object into something furniture and cabinetmakers. I originally studied and you can walk through and relate to from multiple worked as a landscape architect, which although it seems a viewpoints. The large scale also allows me to explore this distant memory from what I do now, genuinely shaped the stacked and repetitive format in each of the works. way I think about design. Ultimately my appreciation of people who make things for a living, is what led me to the What satisfies you most about this collection? career I have today. What is satisfying is creating eleven unique objects that What’s your connection with Japan and relate to each other in a harmonious way. It was also what does it bring to your aesthetic and process? satisfying working in a manner I was not used to. Since there is no correct way of appreciating a work of art, I I have had several working holidays in Japan staying didn’t have to judge it in the same way as a furniture piece with my furniture making friend who lives above his which was good for a change. 68 Australian Wood Review

EXHIBITIONS What kind of joinery have you used to make the stacking units, and how do they connect? What distinguishes them is they are not carved from a single log but are made using techniques and profiles familiar to traditional furniture making. The pieces are hollow, made of oak. and I used everything from lap and butt joints to mitres, dominos and biscuit joints – all of which changed depending on the object and effect I was going for. Large scale works like these also bring costs – timber, planer knives, maker grunt – your thoughts on this? There were costs involved, but hopefully the value of those costs and maker grunt is visible, and one walks away with some appreciation of my effort – at the very least. The general sketching, designing, and planning took many months, but I built them the same way I built furniture and I am fortunate to have my own workshop and modern machinery to have manufactured them efficiently. Do you have other sculptural projects in mind that have evolved from your furniture making practice? I do have some more sculptures in mind, but I also have intentions to apply some of the details of my sculpture into some new furniture products. Photos: Annika Kafcaloudis Art direction for exhibition photos: Both Studios. Sequences was shown M Contemporary Art Gallery in Darlinghurst, NSW from May 17–31, 2022. Learn more about Hugh McCarthy @hughmccarthy and at hughmccarthy.com.au www.woodreview.com.au 69

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$PWFS wooden domino tenons. Made of tough plastic they come in one size Public and Product Liability (6mm x 38mm), and have small barbs Insurance to $10 – $20m cover: on them that grip into the wood. For professional and amateur The barbs are angled to force the craftspeople working or teaching from tenon down into the mortise, and home, or undertaking markets or craft there are small indents to allow demonstrations in public. (Arranged glue adhesion. through City Rural Insurance Brokers Pty Ltd and AAI Limited ABN 48 005 297 FastCap say you don’t need clamps mouldings, panelling, aligning 807 trading as Vero Insurance) $225 for to pull the joins together and I would tabletop boards or for simple building $10 million cover, and we also offer an agree with this 90–95% of the work they are excellent. I wouldn’t option of $245 for $20 million cover. way. They do apply good clamping use these all the time, but definitely pressure, but they don’t replace for a tricky job or somewhere where Additional Insurances offered bringing a joint together with a clamp. you can’t clamp – for this they are to VWA members by City You cannot have one slot wider as ideal. Priced at around $60 for 100. Rural Insurance Brokers: we do with wood tenons to ease alignment, so be very careful with the Review product supplied by 1. Home & Contents; domino cutter to align the mortises Timbecon www.timbecon.com.au 2. Home Workshop, equipment as perfectly as possible. I got pretty good results on my test pieces with Raf Nathan is a furniture designer and contents; the edge to edge joint coming out maker who lives near Brisbane. 3. Personal Accident and Illness quite tight. The 90° joint however was only just acceptable and not Top: Made of tough plastic, FastTenon Insurance; crisp enough for a chair or structural joiners are 6mm x 38mm and small barbs 4. Commercial Studio or Workshop section that is load bearing. The joint that grip into the wood. would be acceptable for non-load Business Package: To cover bearing applications. Below: Test samples showed that for those Members who operate some applications these tenon joiners a business away from their I liked them, as they are nearly good can be useful. residence. enough to bring wood together for certain applications where you can’t or don’t need to use clamps. Applying Contact Meg Allan, VWA Membership Secretary
Tel 03 5776 2178 Email [email protected]
Web www.vwa.org.au Important: Victorian Woodworkers Association Inc (VWA) does not hold an Australian Financial Services Licence, but as a Group Purchasing Body has engaged City Rural Insurance Brokers Pty Ltd (AFSL 237491) to arrange Group or Master Liability Policies for its members. VWA does not receive any form of remuneration (including commission) or other benefits that are reasonably attributable to the group purchasing activity. 70 Australian Wood Review

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WOODTURNING A Simple Plate The things we make for our own everyday use can be of greater value. Story by Terry Martin. Awoodturner with basic skills jacaranda. It is easily available I selected a piece of jacaranda that can easily turn a range of items because jacaranda trees don’t live I cut about two years ago. The suitable for home use, or as gifts for long, so they are regularly felled. board was 270mm long, 220mm family and friends. For example, I Jacaranda is easy to cut, stable, wide and 90mm thick. I cut it have a number of flat wooden plates sands well, and doesn’t lose its nice longer than the width to allow for that we use every day for morning creamy colour. When it is finished any endgrain cracking. I had cut toast and snacks. Here I will show it is hard and durable. Some of my the wood through the pith and, for the basic steps so you can turn some jacaranda plates are nearly 30 years the purposes of this story, I marked for yourself. old and have not deteriorated at all. some of the growth rings to show If jacaranda is not available, local how they arced around the pith. Choice of wood woodworkers will often know what With growth rings balanced like this is suitable. the wood should be very stable. My wood of choice for plates is 72 Australian Wood Review

WOODTURNING 12 3 Main: Terry Martin with the finished plate made from jacaranda. 1. Cutting the blank into two. 2. Scribing the blank. 3. Cutting out the blank. 4. Drilling the hole with the sawtooth bit. 5. Using a pull cut to true the base. 45 This is important because a plate Mounting the blank Turning the base is quite thin and if it is not stable it will tend to curl with changes in the There are several ways to mount a With the blank on the lathe, I turned ambient humidity. plate like this on the lathe for initial away the excess wood using a pull turning, including a screw chuck, cut with the handle down. The Cutting on the bandsaw faceplate, vacuum chuck, and even long, thin shavings are evidence of between centres; but I chose to drill a very efficient cut. This is because It is hard to imagine turning wood a hole with a 50mm sawtooth bit the wood is being sliced at a very without owning a bandsaw. It can be to allow me to hold it in expansion acute angle (photo 5). If it’s more done, but it means you are largely mode with my Vicmarc VM100 comfortable, you can use the more limited to using what other people chuck standard jaws. Any screws or traditional cut and push the tool have cut for you. First, I cut the recesses should not penetrate to the away from you into the wood. It will board into two halves 44mm thick wood that you need for the plate do the job, but I urge you to try the on my large bandsaw so I could turn (photo 4). Most beginners make pull cut – but remember, you need a matching pair of plates (photo their recesses far too deep, but I only to hold the handle down until it is 1). Next I scribed the maximum needed enough for the chuck jaws almost vertical. diameter on each board with my to seat firmly against the base of the dividers (photo 2) After that it was recess and for the shoulder to be deep At this point I had to remove so quick work to cut each turning blank enough so the surrounding wood much wood that I realised I had with a narrow blade in my small didn’t split when I expanded the jaws. made a mistake – I should have cut bandsaw (photo 3). My recess was 8mm deep. the board into three blanks as there www.woodreview.com.au 73

WOODTURNING 6. Marking the 6 7 outside diameter of the chuck jaws. 7. Undercutting the dovetail recess. 8. The finished base. 9. Undercutting the rim. 10. Using the round double bevel scraper on the underside. 11. Reducing the whole piece to the rim level. 12. Final cuts for the top of the rim. 13. Flattening the plate. 14. A plate to enjoy using for many years. 89 was enough for that. I had been a and eyeball the points so they are the jaws seat on the bottom of the making a number of much larger balanced each side of the centre. recess, then open the jaws and they pieces and didn’t downsize my With practice, muscle memory will be in full contact with the entire thinking. I should have remembered will guide you and you won’t find diameter. Because of this, they will the old rule: measure twice and cut yourself jabbing around trying to leave no indentations in the edge of once. Never mind, my compost bin match the two points. the recess. I turned the area inside loves the shavings. the base to the same depth, then Cutting the recess added a few decorative grooves with Once the base was flat, I marked the diamond point scraper (photo the diameter of the 128mm chuck To create a dovetailed recess in the 8). The underside of the rim was left jaws for my VM 120 chuck. This is base, I used a pointed scraper with for after I remounted the blank. done by setting the chuck jaws so a point angle of 80°, which gives me they are perfectly round, then using a 10° undercut to accommodate the Turning the rim the dividers to transfer their outer dovetailed jaws (photo 7). I only diameter to the wood. When you cut the recess 1.5mm deep. Again, Again, I used my favourite pull cut to do this, put downward pressure on many turners think that a much undercut the rim (photo 9) To finish the left leg of the dividers and don’t deeper recess will make the chuck the concave line of the rim underside, let the right leg touch the wood hold more firmly, but this is deep I used a double bevel scraper (photo (photo 6). The trick is to centre the enough. When you are mounting the 10). This tool is commonly called a hinge of the dividers in line with wood on the chuck, all you have to ‘negative rake scraper’, but I find that the centre of the spinning blank do is close the jaws slightly, firmly a very pretentious name that doesn’t press the blank onto the chuck so clearly describe what it is. A scraper 74 Australian Wood Review

WOODTURNING 10 11 12 13 with two bevels is much the same as 14 using a skew chisel as a scraper and it works very well, so I call it what it is – rub along the grain with 000 steel a double bevel scraper. wool (photo 14). The finished plate feels light, but strong, and once it Once I was happy with the underside taking very soft cuts and constantly has a few coats of oil, I can imagine of the rim, I again used a pull cut to checking with a small ruler for a nicely buttered piece of multigrain reduce the thickness of the whole flatness (photo 13). You can see bread on it. plate (photo 11). Next I cut inwards from this photo that the top bevel is with the bevel rubbing to set the much shorter than the bottom one. Photos: Terry Martin thickness of the rim, following the You only need to grind the bottom curve of the underside (photo 12). I bevel to sharpen and the top bevel Terry Martin is a wood artist sanded both sides of the rim and, in will cut just as well, no matter how and author who lives in the process, rounded over the outside short it is, so you only need to grind Ipswich, Qld. Learn more at edges to give a soft feel for the hands. it infrequently. terrymartinwoodartist.com Finishing the middle of I used a power sander to sand the the plate whole piece, starting with 240 grit and finishing with 400, then a final After reducing the thickness with my gouge, I used a slightly rounded double bevel scraper to true it, www.woodreview.com.au 75

WOOD DIARY Wood Diary For more events and news sign up to AWR fortnightly newsletters at: www.woodreview.com.au Diary listings are free. Email to: [email protected] Note: Listings are current at time of printing but may be subject to change, especially with regard to active COVID-19 restrictions. Always check details with organisers before planning to visit. 22–28 AUGUST 16 SEPTEMBER–27 NOVEMBER 19 NOVEMBER–4 DECEMBER National Skills Week Design Fringe 2022 Graduating Exhibition Raising the profile of vocational learning and Workshops, panel talks and tours. Two venues: Sturt School for Wood career pathways for trainees and apprentices. Linden New Art, and Carlisle Street Art Space Cnr Range Road & Waverley Parade, https://www.nationalskillsweek.com.au/ (St Kilda Town Hall), Melbourne. Mittagong, NSW https://melbournefringe.com.au/festival-info/ www.sturt.nsw.edu.au 5 SEPTEMBER design-fringe/ Maker of the Year presented by Carbatec 22 NOVEMBER–28 MAY Deadline for entries. 1–2 OCTOBER Jimmy Possum chairmaking tradition www.woodreview.com.au/moty2022 Goulburn Valley Wood Show c1872–2022 Demonstrations of wood skills by A survey and showcase of Australia’s foremost 10 SEPTEMBER ONWARDS Goulburn Valley Woodworkers. Items for vernacular furniture making tradition, including Workshops in historic and artisan trades purchase, including milled timber. works by the eponym, subsequent historical The Rare Trades Centre, Sovereign Hill, Victoria Shepparton Showgrounds, Shepparton, Victoria makers and prominent contemporary artisans. https://sovereignhill.com.au/raretradescentre Event Coordinator: Len Taylor 0458777901 Queen Victoria Art Gallery at Royal Park Email [email protected] https://www.qvmag.tas.gov.au 10 SEPTEMBER–19 NOVEMBER The Chair 7–9 OCTOBER 28 NOVEMBER–16 DECEMBER The first in a series by Craft Victoria honouring Out Of The Woods Design and development program with iconic objects of functional craft and design. An exhibition of work by the Michael Fortune Craft, Watson Place, Melbourne, Vic WA Fine Wood Work Association Centre for Fine Woodworking, https://craft.org.au/whats-on/all-events/thechair/ The Atwell Gallery, Melville Arts Centre, Nelson, New Zealand 586 Canning Hwy, Alfred Cove, Perth WA www.cfw.co.nz 10–11 SEPTEMBER Shawn Ritchie, email: [email protected] Ballarat Wood & Craft Show https://melvillearts.com.au/ 2023 Ballarat Showgrounds, https://www.fwwa.org.au/out-woods 702 Creswick Rd, Ballarat, Victoria 10 JANUARY–18 FEBRUARY www.ballaratwoodies.org.au 7–16 OCTOBER Six week residency program Sydney Craft Week 2022 with Michael Fortune Tasmanian Turning Celebrating creativity and the handmade Centre for Fine Woodworking, Supplies in all its forms. An initiative of the Nelson, New Zealand Australian Design Centre www.cfw.co.nz 6 Tanina Mews Kingston Beach Tasmania 7050 https://sydneycraftweek.com/ Phone: (03)6229 1345 Mobile: 0407 274 294 10–13 FEBRUARY 8–9 OCTOBER Australian Wooden Boat Festival r Tasmanian timber blanks. Illawarra Festival of Wood 2022 Hobart, Tasmania r Pen kits. r Displays and workshops www.australianwoodenboatfestival.com.au/ r Fit-up clocks and weather instruments. Bulli Showground, Grevillea Park Rd, Bulli, NSW r Lazy susan bearings. r Brass accessories. www.illawarrafestivalofwood.com 26 FEBRUARY r Bottle stoppers. r Pewter potpourri lids. Sydney Tool Sale r Salt and pepper grinders and more ... 14–15 OCTOBER Traditional Tools Group Cooroora Woodcraft Show 9am–1pm, The Brick Pit Sports Stadium Email:[email protected] Cooroy Memorial Hall 1A Dartford Rd, Thornleigh, NSW Web site: tasmanianturningsupplies.com.au Steve Chapman 0419611565 https://www.tttg.org.au/ Email [email protected] www.cooroorawoodworkersclub.com 11–13 NOVEMBER Eltham & Districts Woodworkers Club Annual Exhibition Finished works, demonstrations and bush carpentry. Eltham Community & Reception Centre 801 Main Road Eltham, Victoria https://www.elthamwoodworkers.org.au/ Allwood SPECIALTY TIMBERS Select Grade Furniture Timbers Dressing, Machining & Sanding Service Techni Glue Epoxy, Whittle Waxes Oils Livos Oils & CarbiTool products Furniture Design & Making Woodwork Classes 8 Geary Place, North Nowra NSW 2541 P: 02 4423 3295 thirstonmorris.com.au | allwoodspecialtytimbers.com.au 76 Australian Wood Review

WOODWORK CLASSES ROBERT HOWARD WITH ROY SCHACK CLASSES IN WOODCARVING weekends, short and long • Discover the joys of using your hands term courses available • Tools and wood supplied catering to beginners and • Beginners welcome experienced • Inner City Brisbane location four students maximum workshop located in Full details on my website: beautiful Samford Valley tools supplied www.roberthoward.com.au one-on-one tuition available Or FOR MORE INFORMATION: ph: 0403 161 111 www.royschack.com e: howardrobert @mac.com P 0415 328 166 bluecheak Instagram: Woodworking and roberthoward Furniture Making Classes woodworker with Ross Annels TA S M A N I A new location Lomandra Place Studios Coolum Beach QLD Ross 0407 489 227 :22':25.,1*:((.(1'5(75($7 www.lomandraplacestudios.com [email protected] (QMR\\DZHHNHQGRILQGXOJHQFHDQGFUHDWHD KDQGFUtDhIeWdHvGsc3wL@FWgXmUaHil.c)oUmDPH0459548L2Q63FOXGHV RICHARD CROSLAND The VACU PRESS SYSTEM SULYDWHERXWLTXHSHULRGDFFRPPRGDWLRQ is used by woodworkers WXLWLRQPDWHULDOVDQGDOLJKW6XQGD\\OXQFK SCHOOL OF FINE WOODWORK worldwide. Used for veneering, laminating and E [email protected] M 0459 548 263 (accredited member Studio Woodworkers Australia) curved panel production. www.dvscw.com.au Weekday/nights & Saturdays Uses are limited only by your imagination. Phone: (02) 9313 4142 CHERLPEINGAYTO2 EU Mobile: 0417 020 976 Short Course on Sundays WITH WOOD with Adam Crosland Email: [email protected]
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WOODCARVING Beyond the Black Stump Others may see a graveyard of twisted tree stumps, but for Guy Breay these are a playground for his imagination. 78 Australian Wood Review

O ut west in Queensland there’s a region known as the WOODCARVING Western Downs that’s almost as big as Switzerland. www.woodreview.com.au 79 Instead of snow covered alps however, you’ll find a tapestry of forests and farmland intersected by wetlands and rivers. The land near Dalby, where Guy and Jan Breay live, is non- arable ironbark and cypress pine ridge country. The budgeroo (Lysicarpus angustifolious) that Guy loves to sculpt is also native to that area, however around 60 years ago much of it was ring-barked by timber getters to make way for the cypress pine that sawyers saw commercial value in. ‘Budgeroo is a very beautiful timber, but prone to having natural internal pipes and cavities’, he said. ‘Another hard, rugged and beautiful timber that I salvage is flame sheoak (Allocasuarina inophloia),’ Guy added. ‘Cypress pine tree stumps also have exquisite grain patterns and are relatively hard and stable.’ Born in England, Guy grew up in South India on the tea, coffee and cardamom plantations his father managed. Later, in the 70s, his family pioneered the cardamom industry in Papua New Guinea on a remote leased forest property, ‘with the assistance of their local Papuan friends and land owners’ (ct’d p.81). A study in resilience Invictus, salvaged flame sheoak (Allocasuarina inophloia), 600 x 580 x 2300mm Invictus is a depiction of an ascending hunter. It reflects on a friend who has the perseverance, resilience and fortitude to endure physical and mental pain and still be ‘the master of his fate and captain of his soul’. A branch of flame sheoak was first tidied up with a small chainsaw. Once the hunter’s form was completed, I began designing the diagonally aligned ‘apertures’ to enhance movement in the form, creating lines that flow upward from the base to the tip of his left hand. Hollowing out the sculpture to reveal the negative spaces required considerable time, patience and focus using keyhole saws, drills and rasps. I started the most inaccessible part first, carving into and between the right arm and body. My concentration must have lapsed because the arm broke off at the shoulder along a fault in the wood. This caused a great deal of consternation and dismay that resulted in me giving up on the difficult project for a while. I started working on other easier pieces to clear my mind. Later on I carved the broken right arm separately and it was easier to access body without it attached. I continued slowly but surely, with many interruptions for other work. I decided to rejoin the right arm to the body at the shoulder. Small holes were drilled into the wood on both sides of the broken joint in order to increase the surface area and enhance glue penetration. Masking tape held everything together tightly for 24 hours while the adhesion took place. Rasping followed by sanding from 80 to 340 grit commenced before multiple coats of oil were applied.

WOODCARVING From the ashes Phoenix the Firebird Rising, salvaged budgeroo, 1000 x 1260 x 550mm The inspiration for the creation of the legendary phoenix, the firebird rising from its ashes, came from the natural shape of a salvaged bushfire damaged tree stump. In spite of the damage, age and cavities within the roots, there was an appearance of a forlorn bird waiting to be brought back to life. With its beak open, Phoenix is calling out to be made beautiful again as she is still not completely recovered from the fire, yet rising and preparing to fly. Her wings are however not yet fully formed. One is open and the other wing is partly shut. She awaits perfection, which, according to the legend, takes 500 years. The budgeroo tree stump initially weighed over 100kg. The finished piece is designed to hang on a wall and now weighs only 20kgs. 80 Australian Wood Review

WOODCARVING It was there that his woodworking began: ‘We built houses out Survival and revival of local timbers. The roofs were made of split cedar shingles. I learnt to operate chainsaws and eventually invested in a Beyond the Black Stump, budgeroo, 490 x 490 tractor-driven circular saw bench for ripping timber, mainly x 400mm for packing boxes for exporting our cardamom. The sawn timber was also used for flooring and walls of houses.’ This piece was carved from a salvaged tree stump of budgeroo that survived a local bush fire Another decade later Guy and Jan bought their many years ago. The spiral vortex depicts the Queensland property. ‘Friends who visited used to say we fury of a firestorm. Twisted tongues of heat and lived in the sticks, so we eventually chose that name for our flames are gradually replaced by sprouting green property’, explained Guy. ‘However, when I carved the sign shoots showing signs of recovery, regeneration on the entrance gate I misspelled the word, and it’s been and revival. known as “The Stiks” ever since!’ The piece was attached to a temporary base and The woods that Guy works with are some of the toughest carving stand where I can manipulate the piece in around, all of which is amplified by the twisting gnarly every direction except upside down. grain of the root and stump forms he uses. Knowing only a little of his life, it’s easy to see that Guy’s meets Most of the sapwood was removed and an challenges head-on and using a timber resource that many hourglass form created with an angle grinder. The would overlook is another he has embraced. ‘I enjoy the chalk mark assist with designing the final concept challenges of creating sculptures from salvaged wood. It of spiralling planes. Once I am satisfied, I use a demands very flexible thinking and design ideas, he said.’ felt marking pen to accurately define the outlines. Creating his free-flowing sculptures is time-consuming, Having hollowed out the centre and cut out the not least because of the nature of his medium. I asked Guy stock with angle grinders and keyhole saws, I then proceed with the design of additional negative space or apertures. The carving and refinement is now completed with coarse and fine rasps followed by sanding to 320 grit and oil finishing. www.woodreview.com.au 81

WOODCARVING Following form what ratio of power tool to hand tool work would there be in his work? His answer was surprisingly precise: ‘I keep Cassowary, salvaged budgeroo 470 x 350 x 210mm fairly accurate records of time spent carving each piece and the tools employed. Those records reveal that 20% of my ‘This stylised sculpture followed a recognisable shape time involves power tools and 80% involves hand tools.’ that had already attracted my attention in a tree root. After cleaning it with a scrubbing brush and household detergent, ‘Design work is enjoyable and can be very time consuming, I established a flat base and then mounted it on to a but most of my time is spent rasping to an 80 grit temporary carrier and my flexible carving stand. equivalent, after which I commence sanding and polishing. A piece like Invictus takes me 250 to 300 hours to carve ‘The distinctive profile led me while emphasising and therefore rates at the higher end of difficulty compared movement, negative space, and contrasts in texture and to almost all my other work.’ colour. The tools used were angle grinders with cutters and then coarse abrasive. A die grinder with varying sizes With starting out weights as much as five times greater, of flap wheel abrasives were used to carefully carve around Guy’s is a ‘less is more’ kind of art where volumes are the planes of retained natural edge. Some fine hand chisel reduced and refined to create latticed and flowing work was also employed to depict feather lines. forms. ‘My favourite process is enhancing my work with movement with lines, negative spaces and contrasting As with other work, coloured chalk between each sanding colours and textures’, he said. ‘The shape of the wood is the grit from 80 to 320 helped to ensure every millimetre is source of most of my inspiration.’ sanded. The polished sections of the cassowary were finished with multiple coats of oil. Knowing that Guy has also played flamenco guitar for most of his life, I asked him if there were any parallels with this style of music and his style of woodworking? His reply highlighted an interesting parallel: ‘Both require passion, practice and patience as well as degrees of inspiration, imagination, improvisation and innovation.’ Alongside managing his olive grove and forest, Guy Breay carves six to seven pieces a year and shows work at several galleries in Australia. Photos: Guy Breay Learn more at www.thestiks.net 82 Australian Wood Review

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