066 woodwork 2000.12, Woodwork

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Reader Service #84
DECEMBER 2000 NUMBER 66
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DWORK
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S
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24
:I
A CONVERSATION
WITH W ENDELL CAST LE
oj
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~
~
by Anthony Guidice
34
AN ARTS-AND-CRAFTS BOOKCASE
iE
by Keith Rust
42
MESQUITE-
A CHARACTER ALL ITS OWN
by Paul Sellers
Spoon making
48
48
WOOD SPOONMAKING
~
by Barry Gordon
~
c
8
24
WendellCas tle
56
GA LLERY
~
~
iE
62
~
MAKING SMALL BOXES W IT H SLOT HINGES
Ii:
by Doug Stowe
'
'
~
Small Boxes
62
~
~
67
"W H AT KIND OF GLU E DO YOU USE?"
'"
:I:
....
SOME T H O UGH T S ON FURNITURE
0
,.
~
AND COMMUNITY
~
;
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::1
c
,.
=.
by Jo hn Lavine
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~
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iE
72
DADO JOINTS, PART ONE:
A SURV EY OF JOINTS
by Percy Blandford
76
ENHANCING THE GRA IN
67
"Glue"
Mesquite
42
by Mac Simmons
E
P
A
R
T
E
N
S
D
M
T
2
COMMENTARY
ON THE COVER
WendellCastle, in his studio in
Scottsville, New York, at work on
a prototype for a new chairdesign.
Photo by Vicki Guidice
4
TIPS
&
TE CHNIQUES
8
EVENTS
14
SHOPTALK
16
BACK ISSUES
77
CLASSIFIEDS
79
ADVERTISERS
IN D EX
 COMMENTARY
WOODWORK
Sleight of Hand
Editor
JOHN LAVINE
I
read lots of stories to my
Wendell Castle's
trompe l'oeil
piece
"Table with Gloves and Keys" works so
well for several reasons. The carvings
of the gloves and keys are carried out
with exacting detail in order to suc-
cessfully create the illusion, but at the
same time they are left in mahogany,
undifferentiated from the table on
which they are placed, as if to say
"These are not gloves and keys." Castle
is having it both ways, and with a cer-
tain amount of fun; one is reminded
'" of the scene
~
from
The
Art Director
JOHN KIRIKOS
daughters. They are two years
old, and many of the books I
read to them are filled with animals
doing human activities: dogs dri-
ving cars, pigs cleaning house, aard-
varks going to school. .. you get the
picture. Of course, they also look at
books that very accurately represent
the animal kingdom as adults know
it. At one time, I felt the need to
point out to them what was "real"
and what
was not, but
I found, to
my surprise,
that that
wasn't a rel-
evant point
for them.
On some
level, per-
haps not the
same as for
you or for
me, they
already
knew the difference. Not only that,
they didn't seem to care when that
line was crossed. Their world is a
magical place.
There is a famous painting by the
Surrealist artist Rene Magritte called
"The treachery of images."
It
is a
meticulous rendering of a brier pipe,
and underneath it the words (in
French) proclaiming "This is not a
pipe." That is, of course, correct; it is
a
picture
of a pipe. But it is pro-
foundly different from the puzzler in
logic that reads: "This statement is
not true." The latter is self-contra-
dicting to the point of self-cancella-
tion; the former gains power from
the tension created between the
worlds of illusion and reality, and
our willingness to accept both. That
willingness makes us party to this
"treach ery," but it is revealing that we
still use the words "artifice" and
"craftiness" to suggest some form of
devious trickery.
Contributing Editors
BOB FLEXNER, ANTHONYGUIDICE,
TERRY MARTIN,
DAVID MElLAND, KERRY PIERCE
Illustrator
MIKE BRAY
Publisher
THOMAS TOLDRIAN
Advertising Director
TED ALFANO
li
~
Wizardof
~
Oz,
when,
Advertising Coordinator
CLARA KERNS
c after the cur-
;..
~
tain is drawn
8
back to
~
reveal the
~
all-too-
human "wiz-
ard;' a com-
manding
voice is still
saying "don't
pay attention
to the man behind the curtain."
But to my mind, what confirms
the success of the piece is that it con-
tinues to function as a table, and
because of that has it both ways
again: it doesn't need to subvert itself
as furniture in order for it to work in
the realms of sculpture or art.
We've also been to a few magic
shows, and while my daughters and all
the other children sat enthralled, the
adults strained to catch the magician 's
trickery.
It
seems the more sophisti-
cated we are about the world, the
more we require to maintain that ten-
sion. Or maybe, knowing more of
what it takes to create the illusion, we
are more willing to suspend disbelief.
Either way, the visual effect is crucial;
if the sleight of hand is not well exe-
cuted, concept alone will not carry the
trick. In fact, if our eye is fooled in
spite of our awareness, we are all the
more delighted. Craftiness is key.
John Lavine, editor
Production
GINNY GREENFIELD
VERONICA VALERO
Circulation
LILLIAN A. MUELLER
Accounting
ABBY TOLDRIAN
Detail from "Table with Gloves and Keys"
(I
978);
mahogany,
35"
x
45"
x
16",
by Wendell Castle.
WOODWORK No. 66
(lSSN
# 1045-3040) .
is published bi-morrth ly by Ross
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Woodwork. 42
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PRINTED IN U.S.A .
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