and her reputation for her work in carving & restoration, Crowood Press commissioned her to write a book on the history of ornament and the basics of carving, tool care, and choosing wood. As part of the deal, she is also to create and include several practice projects.
During our wide-ranging conversation, we learned that Clunie works mostly in oak and lime wood. And while lime wood is the easiest of the two with which to work, it is oak that has more character. When questioned about how she secured wood, Clunie responded that, when working on a commission, the wood is specified and built into the cost of the project. Otherwise, she secures wood in a variety of ways: visiting lumber yards in search of cast-off pieces, exploring public woods after big storms hunting for hunks of fallen trees, and receiving leads and pieces from a network of friends and fellow artisans who are on the lookout for her.
After about an hour of conversation focused on the tradition and history of carving, I asked Clunie if she saw a modern application for her skill. Her answer was not immediate; instead, it was revealed over the course of an interesting conversation where she explained that carving wood is classified as a “slow art,” one that takes time, skill, and enormous patience. Following on this, Clunie then pointed out how the history of carving is bound up in the history of ornamentation.
In the Middle Ages and up until the 19th
century, the citizenry of a city or village was
exposed to and conversant in ornamentation as it was ubiquitous. In churches, or public buildings commissioned by nobles or kings, the best artisans were hired and employed to skillfully apply ornament to every possible surface of both buildings and decorative objects. Hence for centuries, and across generations throughout Europe, the public was accustomed to seeing heavily ornamented objects and interiors. That changed over time with the advent of modernism. Suddenly ornamentation, guilds, and craft came to represent a no longer relevant past; modernism represented the future, the use of new materials, and artists breaking new ground. Equally, whereas the creation of ornament requires following a rather strict set of stylistic rules, modernism is rooted in an expressionism that opens itself to interpretation.
Because Clunie has worked primarily in restoration and conservation her audience and patrons are inclined more towards traditional pieces for which her refined skills are perfect. Not one to shy away from a challenge, Clunie is interested in finding a modern interpretation for her skills and has thought hard about how she can accomplish such. She shared with us some of her ideas about a “modern” carved wood piece, but it is not our place to reveal such. Suffice it to say, her ideas are highly original and exciting. Stay tuned. Clunie Fretton is one to watch.
If you want to learn more about Clunie’s click here: https://www.cluniefretton.com
Right:
Grinling Gibbons' cravat
Courtesy of:
VIctoria & Albert Museum
https://www.youtube.com/watch?v=FWDj4ze_nok&t=2s
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