Detail of Don Powell’s Wood Spirit carved from Qld maple.
View towards the Wootha Prize display on opening night, May 29, 2016.
Doug Bell, Head of a Big Red. ‘This sculpture attempts to convey the essence of the aristocratic aloofness so often seen when a large male red kangaroo surveys its territory. The timber was cut from a bushfire burnt log of Australian redgum, Eucalyptus camaldulensis, which has interlocked grain resulting in rippled or quilted patterns. Additionally, the grain was also fire hardened. Because of this the carving gouges and chisels are constantly attempting to cut "against the grain", adding a degree of difficulty which does not occur with straight-grained timbers. The redgum was of indeterminate age but had been lying in a paddock for about 30 years since the Ash Wednesday fires in South Australia. Redgum’s strength, colour and rich grain seemed the logical choice to portray this unique and iconic Australian marsupial with ears cocked, taking in every sight and sound around it.’
Evan Dunstone and daughter Enya attended the opening night for the Wootha Prize.
Gaetano Moschella, Balena, budgeroo. The Y-section of a tree has some of the best grain features. The thought of turning such an object came to me many years ago. At that stage I did not have sufficient experience on how to work large, heavy, dangerous and awkward pieces. In many places it means working “against the grain”, plus the danger of two objects whizzing past like helicopter blades. This requires 1000% focus on the wood rotating at a safe turning speed, your cutting tools, and listening for any unusual sounds as the wood is slowly being removed. I’m always ready to knee the emergency stop bottom on the lathe and move very quickly. The end result: a vase-shaped vessel with weathered sections which appear like ripples of running water, a carefully positioned blow hole and the tail of a whale swimming down into the unknown depths within.’
Guy Breay, The Whispering Sheoaks. ‘Wander amongst the sheoaks, listen and learn from their wisdom. In a light breeze their fine, delicate leaves whisper the secret of their success in harsh and dry outback. They tell us their secret to survival is not to resist the elements but to twist, turn and bend with storms and strong winds. Their rugged shapes and gnarled appearance is a result of the harsh environment in which they grow. It is only during calm and mild conditions that they are able to break free from the environmental constraints. They are then able to compete with the elements and shape their own destiny by going against the grain and spiralling upwards toward the sky.’
Steve Hann, Branch Out, paulownia. ‘Surfing is often thought of as a green sport however if we stop and think about what surfboards are made from a horrifying reality emerges. Not only are petroleum-based polyurethane foam and layers of toxic polyester resins bad for the environment, they are also bad for the people who make them. A new trend is emerging within the surf community as awareness of our fragile environment sinks in and people look for ways in which they can make a difference. My love of working with wood and surfing have led me to building timber surfboards. Timber surfboards functionally perform similar to, and in some cases better than their un-environmentally friendly counterparts. The bonus is that a traditional foam surfboard could never match the beauty, aesthetics and longevity of a timber one. To this end, I feel I am making a small difference and working “Against the Grain” of modern-day surfboard manufacture.’
Jack Wilms, The Tree of Life. ‘This piece was created to “go against the grain” of how the tree of life is normally depicted. It shows you some of the emotions we experience with life's drama, with all the ups and downs through which we go.’
Steve Whitby, Dovetail Rocker, recycled white oak, leatherwood armrests. ‘I have mainly used half lap dovetail joints as they are very strong. This has allowed me to make the basic chair from reasonably thin section wood. The seat and back are woven from cotton tape. I was concerned primarily with making a comfortable chair but one that is also elegant. The chair was designed for myself and I am 5' 8'' tall or 174cm. As such, it is comfortable for me but may be less so for you. By all means have a try – I hope you enjoy the ride. When in use, the user is literally "against the grain". The final chair is an intimate, sensual experience when used.’
Opening night visitors take a closer look at David Harriman's prize-winning Noise and Dust chainsaw replica.
Rada Vlasici, Wilto, recycled Qld blue gum. ‘The hands, like the eyes, are messengers of true feelings. If you raise the hands above the head, you’ll soon get the message “I’ve had enough of this”, no matter what kind of state of mind you may be in. Just try it! It will be even more so when there is an uncompromising, law of physics obeying “LOAD” to carry which accepts no massaging techniques! Will the brain accept that the “against the grain” path is not a wise state of affairs, will it swallow its pride, gently lower the hands, and obey the “LOAD”, or, just go ahead with it’s somehow aggressively displayed intention and see what happens…. Time will tell!!’
Guy Breay, The Whispering She Oaks. Wander amongst the sheoaks, listen and learn from their wisdom. In a light breeze their fine, delicate leaves whisper the secret of their success in harsh and dry outback. They tell us their secret to survival is not to resist the elements but to twist, turn and bend with storms and strong winds. Their rugged shapes and gnarled appearance is a result of the harsh environment in which they grow. It is only during calm and mild conditions that they are able to break free from the environmental constraints. They are then able to compete with the elements and shape their own destiny by going against the grain and spiraling upwards toward the sky.’
Another scene from the Wootha Prize opening night.
Don Powell, The Wood Spirit, Qld maple. ‘I researched the phrase "against the grain" and considered the various definitions. The ones that interested me were: "contrary to one's good sense", "take with a pinch of salt", "against what is right or normal". This led me to fairy tales – much loved during one's childhood but in our adulthood, contrary to good sense. Are there really tree spirits, witches, elves, hobbits etc? Perhaps we wish there were... My Wood Spirit is a fantasy piece.’
David Harriman, Noise and Dust. ‘Chainsaws – great machines for cutting "against the grain". This ''Solo Rex" is a replica of my father's first chainsaw. He purchased it secondhand in the early 1960s. His Solo was made in 1958 and despite being well used when he obtained it, it continued in service up until a few years ago.’
David Harriman, Noise and Dust. Detail of the artist's Solo Rex chainsaw replica.
Colin Stark, Future Uncertain. ‘Selectively constructed from discarded wood, an old white beech fence post, hardwood log end, rose mahogany root and barbed wire, “future uncertain” is a liberal interpretation of the 2016 Wootha Theme. Totally unconventional, it rejects conformity in its shape, finish or function. It is contrary to what is expected. The purpose of the piece is to provoke thought as to its inner meaning/s. The answers are dependent upon the interrogator’s perception.’
Enjoying the Wootha Prize opening night function was Candice-Tocknell’Gray, Carbatec’s Brisbane retail store manager.
Lindsay Kruger, Barung Landcare President gave an opening speech and had the honour of cutting the 20th year celebration ‘log’ cake.
Raf Nathan with Neo Table made from silky oak.

Against the Grain

4 May 2016

The theme of this year’s Wootha Prize competition and exhibition was Against the Grain, a concept that bamboozled some as it seemed to defy one of the primary ‘don’ts’ of fine woodworking. Annually staged within the Maleny Wood Expo, the exhibition always carries a theme that entrants must interpret while also complying with a brief to use only sustainably harvested, recycled or weed timbers. Most of the 17 exhibits were sculptural, reflecting the fact the theme probably attracted a more abstract interpretation.

Donald Powell, renowned wood sculptor and revered Maleny local took out First Prize of $2500 sponsored by HQ Plantations with his sensitively carved piece titled The Wood Spirit, shown below. Don’s interpretation of the theme is explained in the caption of the same image shown in the image gallery above. However the theme took on another meaning as Don explained to me that it was one of the hardest pieces of Qld maple he had ever carved, and how he had to resort to very frequent fast blade touch-ups on his Tormek wetstone grinder. The high relief carving took around two months to complete, including 4am starts in the last week.

Don-Powell-with-The-Wood-Spirit1

Second Prize of $1000 sponsored by Queensland Water And Land Carers went to another local sculptor, Jack Wilms. The Tree of Life was an artful representation of ‘life’s ups and downs’ displayed in 3D on a salvaged red cedar. Jack’s piece was also runner-up in the Popular Choice Award!

Jack Wilms, The Tree of Life

Third Prize of $750 sponsored by Timber Transitions went to Raf Nathan for his Neo table, made from recycled silky oak. The judges, Pam Maegdefrau, Robert Howard and Richard Vaughan commented that they appreciated its subtle curves and how the timbers segments in the top were arranged.

Raf Nathan with Neo Table made from silky oak.

David Harriman won both Popular Choice and Craftsmanship Awards for his Noise & Sawdust chainsaw replica, a piece that featured local and salvaged species and obviously attracted a lot of attention. Accepting his award for Craftsmanship at the opening, David explained that making the piece was a challenge. He started with the bar and the chain, reasoning that if he could conquer those, the rest would flow. White beech, Qld maple, jacaranda and red cedar were the species he used.

David-Harriman-chainsaw-detail1

Winner of the inaugural Environment Award was Steve Hann for Branch Out, a hollow form surfboard made from paulownia with shou sugi ban dan (Japanese burnt timber technique) detailing.

Steve-Hann-Branch-Out1

The Wootha Prize is one of the longest running themed national woodworking competitions in Australia. Next year’s theme of ‘Inside Out’ has already been set, so you have plenty of time to come up a concept!

More information about this year’s Wootha Prize entry details are at www.malenywoodexpo.com/wootha-prize

Click on an image in the gallery at the top for a larger view with captions.

Words and photos: Linda Nathan, Wood Review editor