Thirty-eight. The bench: my artist’s statement
(I originally posted this as a draft on July 22, 2013, which preceded post “Thirty-nine.” I decided today to go ahead an publish it.)
The architectural tree art of Old Faithful Inn was an original inspiration for me in the late 1980s. Since then I’ve made tree art furniture, sculpture, and architectural details, using contorted lodgepole pine trees.
From its beginning, I designed and made this bench with Old Faithful Inn in mind. As tree art furniture, its design echoes the architectural tree art of the Inn, especially that of the lobby’s log framework bracing, balconies, staircases, catwalks, and the “Crow’s Nest.”
In July of 2012, I took a private bellhop’s tour of the upper levels of the Inn’s lobby for the first time, ascending to “The Crow’s Nest,” and out onto the flat roof’s viewing platform. I repeated this privileged and inspirational tour in June of 2013.
These tours deepened my appreciation of the artistry of architect Robert Reamer’s designs and of the craftsmanship of those he employed to execute them. The tours also increased my sense of connection, as a tree art furniture maker, to the Inn’s architectural tree art and to the contorted lodgepole pine trees. And they also evoked a desire to exhibit my tree art furniture in the lobby of the Inn, for public use as seating, portrait photography, and to serve other educational values.
Lastly, the bench was made in conjunction with my writing of an essay titled “Architectural Tree Art of Old Faithful Inn”, for magazine publication and to later become a chapter in my forthcoming book length manuscript, Contorted Lodgepole Pines: A Poet’s Tribute.
“Tree working” Processes
I began the bench in December of 2012 and “finished” it in June of 2013. The various phases of the project are documented, in detail, on this blog.
The design includes 19 individual, naturally grown, lodgepole pine tree trunks (no limbs or branches), and five tree art “motifs”: swan neck, alpenhorn, arch, ox-bow, and tuning fork.
I chose the individual trees and combined their shapes to serve both structural and decorative purposes. The overall design emphasizes the individual “character” of each tree, while also achieving a symmetrical pattern and functional unity. The natural “defects”—cracks, gnarly grain patterns, insect activity, discolorations—are essential rustic details of tree art furniture.
The most-used joints are round mortise and tenon, saddle notch, and mate cut edge-to-edge butt joint (on the seat slabs). After gluing and clamping, most of the joints were reinforced with either wood dowels or wood screws.
Detailing and Finish
The project included tedious and time-consuming processes of cosmetic detailing: shaping of joints; chamfering of edges; filling holes and cracks; scraping and sanding away of coarse tool marks, wood filler, and excess glue. Stain pens were used to blend colors and to conceal cosmetic flaws.
I first applied two coats of penetrating natural Watco Danish Oil. The final finish is two top coats of satin polyurethane.
The bench is 8 feet long overall, with a backrest height of 46 inches. The slab wood seating area is 71 inches wide between the armrests. I estimate its weight at about 200 pounds.
Here are front and back views of the bench as it sits in our greenhouse-to-be …