Olivia O'Connor: Inspired by nature

Olivia O’Connor, holding her Waterbird carving in her studio workshop South Gippsland, Victoria.

Often we explore different avenues in life to settle on one that suits us. Olivia O’Connor is a wood sculptor and printmaker who undertook formal studies in furniture design and making at RMIT, and then prop making and scenic art at NIDA, before creating her own career niche. We asked her about her background, her interests and working life.

Birds, air and waterborne, frogs, rippling water, and ‘big skies’ often feature in your work… why does nature inspire you?
I think it’s impossible not to be inspired by nature, especially as someone who works primarily with timber – a natural material. Working with timber requires treating it as a living material that reflects the environment in which it grew. Using those natural characteristics to inform my design decisions creates a connection to nature that is central to my work.

Little Frog. Big Climb, 2024, Huon pine, 360mm high. ‘Whilst being joyfully inspired by the nightly chorus of frogs near my workshop, this piece celebrates the beauty and fragility of our natural world.’

What was life in the theatre world like?
I loved the work, but I struggled with the disposable nature of the industry, particularly from an environmental perspective. Some of my favourite jobs were working as a saddle maker for the New York production of War Horse while in the props department at the Royal National Theatre in London. I also loved painting sets for various operas at Opera Australia. Making props for This Is Our Youth involved practically living at the Sydney Opera House for a month, which felt very special – even if I barely slept! It was far easier to cope with that pace in my twenties.

What did set and prop building teach you?
It taught me the importance of testing every process thoroughly, as you often get only one attempt to create or paint the final piece. Deadlines are tight, and you’re frequently working with unfamiliar materials or techniques. Consistent, high-quality results are essential – if you don’t deliver, you won’t get hired again, and you risk delaying the entire production.

How do you approach learning new skills?
I love learning new skills and find that jumping in at the deep end is a great way to do it. It forces me to learn the core skill I’m pursuing and, more often than not, to solve unexpected problems along the way. That process broadens my knowledge and skill set in ways that playing it safe with little projects doesn’t always achieve.

The Joy and Sheer Terror of Swooping Season, 2024, carved and painted magpies

Why rocking horses? What prompted the change?
Everyone loves a rocking horse – how could you not? I made my first rocking horse for my masterwork project at NIDA. In the final year, students are given time and a budget to teach themselves a new set of skills. I had experience in furniture making but hadn’t tried woodcarving. Designing and carving a rocking horse was a great challenge, as was learning airbrushing, leatherworking, and even some metalwork. I also had to work with animal hair for the first time.

I love that rocking horses require so many skills and materials to come together seamlessly. They’re treasured heirlooms, and everyone seems to have a fond memory of a rocking horse – whether they had one as a child or knew someone who did. I’ve been making and restoring rocking horses full-time since 2013.

Restored dappled rocking horse by Olivia O’Connor

How popular are rocking horses? Do you make many?
They’re a lot more popular than most people think! I used to make more new rocking horses, but in recent years I’ve shifted my focus to restoration work. I still take on the occasional new commission, especially if the horse has a unique story, but restoration is the bulk of my work now, and I love it.

How long does it take to make a rocking horse? Can you outline the basic process?
It takes me about a month to create a custom heirloom rocking horse, including painting and hand-stitching the saddle. I also run a five-day rocking horse class where participants carve their own horse (a simpler version of my style). I teach them painting techniques, and they take their horse home to finish with the provided hair, tack, and stand.

Most people are surprised to learn that rocking horses are hollow and made from multiple parts. I start by cutting out the components using a bandsaw and tablesaw, then carve and shape them with a flexible drawknife, gouges, and rasps. After assembly, I refine the shape, sand (a lot!), and prepare for painting. Once painted (which takes at least a week), I attach the mane and tail, hand-stitch the saddle and bridle, and make the stand – including bending and welding the swings.

What are your priorities when restoring rocking horses? Do you enjoy this kind of work?
Yes, I love restoration work. It’s a huge privilege when people trust me with a treasured family heirloom. Sentimentality is often a priority for clients, and many want a sympathetic restoration that honours their childhood memories.

Sympathetic restoration involves preserving original paint and repairing any damaged areas. I match missing paint sections by hand, and I ensure that the hair, stand, and tack are faithful to the original maker’s style. It’s important to retain the horse’s character and age while making it safe to ride.

I also enjoy commissions where clients ask me to paint a rocking horse to resemble a real horse from a photo as this truly makes the horse one of a kind and they come with some great stories.

Hippocampus, 2024, jelutong, copper leaf, varnish, metal, oils, artist oils, 1710mm h x 400mm wide x 620mm long. ‘This piece may look like a gentle giant, but the hippocampus is one of the fiercest and most loyal creatures of Greek mythology.

What’s your workshop like? What sort of machinery and tools do you use?
I rent a shed from my aunt and uncle, where I work and run classes. Over the past 12+ years, I’ve built a collection of new and secondhand tools and machinery to suit my needs. My most commonly used machines are my tablesaw and bandsaw. As for hand tools, my carving gouges are my favourites – and I suspect my collection will never be complete.

With your other carvings, how would you describe your style? What sort of aesthetic are you chasing?
I would describe my sculptural work as gentle carvings inspired by nature. I love reading the timber and letting its unique features guide the shape and style of my carvings. I am not consciously chasing an aesthetic, preferring the let my work change and grow.

Always Carry a Handkerchief, jelutong, ukibori technique, oil paint.

Where did the interest in woodblock carving come from? How does your printmaking aesthetic differ from your carvings?
I’ve always loved art, but I work best in three dimensions. Woodblock carving and wood engraving feel like three-dimensional processes that result in two-dimensional art. I enjoy experimenting with colour and the challenge of multi-layered reduction printing.

In basic terms, how does woodblock carving differ from other forms of woodcarving?
For woodblock carving, you can use the same gouges as in other types of carving, as you’re working with the long grain of the timber.

Wood engraving, however, requires a different set of tools and is done on the endgrain. Fruit woods are ideal for engraving because of their tight, consistent grain, which allows for very fine detail.

Both woodblock carving and engraving are reductive processes – removing material to create a shape – which contrasts with additive processes like sculpting in clay.

Wood block prints by Olivia O'Connor

Your work covers many areas, and you also teach. Is this what it takes to make a living? What do you love doing most?
I enjoy having a varied workload and love teaching. Sharing my skills with others keeps my work fresh, and I’m always excited to start the next project. The job I’m currently working on is often my favourite – though if I did just one thing all the time, I’d probably want to try something new.

Which artists and craftspeople inspire you?
So many! People often tell me that my wood engravings and prints have a distinct traditional Japanese feel, which I find interesting because I don’t consciously aim for that aesthetic. Honestly the list could go on for days, currently my favorite wood engraver is Molly Lemon. I also admire the gentleness of Chris Pye’s woodcarvings.

What has taught you the most as a woodcarver and artist?
I’m largely self-taught, which is one reason I enjoy running classes – I couldn’t find any when I was learning, so I relied on YouTube, but I prefer in-person instruction. I’ve learned invaluable tips from woodcarvers like Mary May, Jeff Donne, Carol Russell, Claire Minihan, and Amy Umbel. A fellowship in the US allowed me to learn painted timber restoration techniques from carousel restorer Rosa Patton.

Wood block engravings by Olivia O'Connor

Where do you see your work heading in the next 5 to 10 years?
I see myself continuing to work with rocking horses, teach carving, and exhibit my sculptures and prints in galleries. I’d like to improve my metalworking skills and incorporate more of that into my sculptural work.

What advice do you have for those wanting to learn?
Just get started, and don’t be too precious about it. Invest in a small set of good-quality gouges rather than a large set of cheaper tools. If possible, take a class with an instructor who understands your goals. The best lessons come from mistakes – understanding why something went wrong is more valuable than having everything go smoothly.

Walnut Hands, 2020, American oak, 350mm wide. ‘Carved by my two hands, and modelled on my father’s hands and my own.

What’s the best thing about woodworking in your opinion?
It’s taken me places and introduced me to people I never expected to meet. I love working with my hands to shape such a beautiful natural material and being part of that connection to the landscape.

Photos: Olivia O’Connor

First published in Australian Wood Review issue 126, March 2025

Learn more about Olivia O’Connor’s work and woodwork classes at @oliviaoconnorwoodcarving at www.oliviaoconnor.com.au Olivia is currently teaching alongside US woodcarver Mary May at Wood Dust Backstreets in Melbourne and Brisbane.